مجله مبانی نظری هنرهای تجسمی
سال هشتم شماره 2 (پیاپی 16، پاییز و زمستان 1402)

Following figures, buildings are the second most efficacious visual element in Persian painting. Even in the oldest paintings in which landscape was not expressive of the space, there used to be a building to organize the space in three dimensions. In the historical path of Persian painting, buildings had this role in all periods because Iranian artists used to illustrate stories in some of which a building, such as a royal palace, garden, fortress, castle, an alcove, or aula was a location of the fictional events.
In Persian painting, buildings are not only locations in which the stories take place, but they also narrate the unwritten parts of stories or as Stephen G. Nicholas (1989) argues, they uncover “textual unconscious”. Having some features such as being crowded or vacant, having one or multi floors, and simple or complicated plans, buildings can inspire viewers with different perceptions of spatial structure, some of which do not proceed with the written texts.
Based on the three-dimensional Cartesian coordination system, representation of buildings can expand the picture space along the three dimensions. It increases the height by depicting multiple floors. It opens the field of view through arrangement of the rooms and halls side by side, and enlarges the width of the scene, as well. In addition, it develops depth of the scene by placing the represented figures inside and outside the buildings. By doing so, several picture planes are formed in the scene; so a viewer understands the depth clearly.
While representation of buildings provides many visual facilities for painters, it also troubles them in case of displaying the 3rd dimension on the sheet. Since a building is a hollow and polyhedron geometric volume (especially cubes or cuboids), and since it needed to be displayed on the two-dimensional paper, painters were in need of applying some methods to create visual errors for the viewers, so that they could perceive the third dimension. Persian painters used to untangle the troubles of these methods since the medieval era.
This research, based on the idea about buildings’ roles and visual facilities, probes the functions and consequences of representations of buildings in Persian paintings, and shows how Iranian painters used to fabricate the illusive 3rd dimension to place the visual elements on three axes: height, width, and depth. Although some scholiasts believe that Persian painting is a two-dimensional art and Persian painters used to avoid displaying perspective deliberately, scrutiny of master artworks reveal Persian painters’ endeavor to display picture space, especially the 3rd dimension. As it were, same as we know about efficiency of three-dimensional representations based on the coordination system, Persian painters were experienced in efficiency of the buildings’ representation to expand the three-dimensional space. Clearly, it does not mean that Persian artists used to adopt Cartesian coordination system to organize the picture space. However, it can be argued that they could understand it either intuitively or based on their contemporary scientific achievements.
As it has been mentioned before, Persian painters, similar to the renaissance guild mates, used various methods to display the picture space; these methods were not the same as those used by the renaissance artists. This difference should not cause modern viewers to assume that Persian painting was two-dimensional art. Persian painters never established the vanishing point. Therefore, the modern viewers fail to perceive a three-dimensional space in Persian painting. As a result of this many questions emerged, some of which arise from the fact that modern art researchers have neglected to compile the history of Persian painting’s evolutions of methods and techniques, especially about picture space. The present research tries to address some of these questions that are listed below.

When did the first attempts of displaying the picture space take place in Persian Painting and which manuscripts contain them?
What were the roles of different Persian painting schools in legislating, changing, and confirming the rule of representation of the picture space?
What were the main challenges in establishing the methods of displaying the three-dimensional space?
What visual facilities were produced as a result of the establishment of these methods?

To shed light on Persian painting’s rules and styles in representing the picture space and to answer these questions, I analyzed around 100 illustrated Persian manuscripts, created between 12th to 16th centuries and selected more than 400 paintings each including a building (e.g., a castle, palace, mosque, etc.). To analyze the picture space in these paintings, I focused on the expansion of the space along height, width, and depth, based on which I answered the research questions. The results of this research are as follows:
The Expansion of Height: Displaying multistorey buildings is one of the most reputed methods to expand the height. Persian painters used to draw a two/three-storey building for this purpose and sometimes break the picture frame to continue the picture, especially since Ilkhanid era onwards. By doing so, the view could be stretched to the top of the paper, and beyond the frame.

In addition to the expansion of height, multistorey buildings had other functions in Persian painting. Two of the most frequent functions are inspiring symbolic concepts and presenting inverted height. In some paintings, dating back to the 15th century, several angels can be seen on roof-tops and other creatures arranged on the lower floors. Based on the verses surrounding these painting, viewers could recognize this arrangement as a symbolic representation of the chain of beings. Similarly, some multistorey buildings in the 15th-16th century paintings do not represent height. Buildings in these paintings which have been drawn based on the plans of the old hammams (bath houses), were arranged vertically in a way that the top floor (i.e., an apodyterium) represented the proceeding room and the entrance to the building. In this type of arrangement, drawing one room (i.e., a tepidarium) under the other does not represent a basement, but a sequential order. Therefore, in these paintings two-storey buildings do not show a real height.

The Expansion of Width: Since pre-Mongol period, to give viewers a sense of width, Persian painters used to display several rooms side by side. Other innovative methods were added/created during the following eras. One of the most creative methods was placing a building at the far right/left side of the picture frame, as if the picture frame was interrupting the continuation of the sight and preventing the viewer from seeing the rest of the building. This way, the width of scene could be recognized wider than what the painter actually had drawn on the sheet.
The Expansion of the Depth: Persian artists used to display the depth of scene based of two principles in painting that are as follows:Arranging Picture Planes: The oldest illustrated manuscripts reveal that their painters knew organizing picture planes and adjusting the distance between them will display the depth clearly. Having multiple sides (i.e., outside/inside and back/front), buildings provided great opportunities for the creation of depth. By placing some figures behind a window, through which those people looked at the main scene, Persian artists could communicate a sense of depth to their viewers.
Representation of a Building's Volume: Persian artists, especially since Ilkhanid period, started the first efforts to draw a three-dimensional building. Between the 13th and 16th centuries, Persian painters gradually overcame difficulties in displaying buildings’ volumes. The most important achievements and methods in this path are as follows:

Lateral, vertical or climbing staggering;
Multidirectional walls;
Interior space of buildings;
Hexagonal and octagonal plans;
Trapezoidal façades inside the buildings;
Separated interior space created by non-load bearing walls;
A combination of all methods.

Throughout the history of human civilization, genealogy writing has been one of the ways of providing genealogical information, which has been written in different forms such as ancestor list, family tree, genealogy, pedigree, etc.).                                             
In ancient civilizations, genealogies are part of the cultural material that, in order to identify and check the lineage of each family, they have been a source of pride for that culture and civilization. Genealogies or tree of life are among those manuscripts that are abundant in Iran. It is available in the form of a booklet and a scroll .These versions require research and visual reading. Currently, very limited studies have been carried out in this field and they are still pristine and first-hand.
There are several copies of such works in libraries and museums, which require deep cultural and anthropological research. In this article, one of these manuscripts, called "Tohfa Suleimani or Sabhat Al-Akhbar (926-974 A.H.)" which was written by the order of one of the Ottoman kings named Shah Suleiman and according to the narration of Yusuf Ibn Abd al-Latif has been chosen to be studied and analyzed in terms of the motifs in this genealogy from the perspective of Panofsky iconography. This manuscript is kept in the library of the Islamic Consultative Assembly of Iran under registration number 17966. This booklet is written in Naskh calligraphy on 72 pages. It has a grid and golden circles and black, red and gold symbols which are simultaneously and comparative deals with the narratives of several dynasties including Ottoman Turks, Iran, Prophets and Mongols and their classification in different countries over time.                                                                           
 The intention of iconography is to describe the subject and content of this artwork through Erwin Panofsky's three-step reading, i.e. description, analysis and interpretation of the image. The process of analysis is from the whole to the parts and in three levels of pre-iconographical description, iconographical analysis and iconological interpretation, from the general description of what is evident to the analysis and interpretation of the hidden layers of meaning and content in the work.
The purpose of this article is to analyze and examine the images, relationships and visual arrangement of the pages in order to discover their meaningful relationships. In order to achieve this goal, the following questions were raised: 1. What were the goals of the Ottoman rulers in ordering this genealogical copy? 2. Based on Panofsky's theory, what hidden meanings and concepts do the arrangement of text and motifs imply?
This research is of qualitative analysis type and analyzes data based on iconography theory. The first step is to describe the preview of the version. This stage is a primitive level and a natural subject. The second level includes the decoding of images in the framework of artistic meaning. In this case, unlike the previous case, we are not dealing with a tangible meaning, but with something reasonable, that is, literary content. The third level deals with the intrinsic and inner meaning of the image. It takes into account the time and place of image creation and the prevailing culture at that time and place and the wishes of the forerunners. This level is a combination of interpretation that combines data from various sources and includes cultural foundations, available contemporary texts, texts transferred from past cultures, artistic backgrounds and such things. Data collection is a library and in some sources references are in the form of URLs. The studied version was prepared from the first-hand documents of the Majlis Library and in the analysis of research cases and referencing, books and articles from reputable websites of Iran and the world have been used.
As a result of research and in order to obtain answers to the questions of this research, it was found that after many conquests, the Ottoman family achieved relative stability in the kingdom, especially during the rule of Sultan Suleiman. In this period, in order to elevate their government and acceptability among the subjugated tribes and superiority over their neighbors, they created works of this kind. To give more legitimacy and stability to their kingdom by connecting their ancestors with divine prophets. Also, by capturing Baghdad and other Islamic cities and establishing an Islamic government, the Ottomans benefited from the cultural influence of the peoples under their rule. Paying attention to relative roots is one of the honors that was especially important among ethnic groups, especially Arabs and Muslims, and the tradition of genealogy has been remembered since these days. This also caused the creation of many genealogical manuscripts during the Ottoman era. After the conquest of Baghdad by the Ottomans, the influence of Baghdad book-making, especially the genealogical branch, can be considered in the form, simplicity, and black spacing of motifs. On the other hand, following the transfer of Iranian artists and writers to the Ottoman art workshops, Iranian influence can be seen in the copies of this Ottoman era.
In the reading of the different levels of these images, it was determined based on Panofsky's three levels, the template used in this version consists of several circles that are connected to each other by simple black lines and creates a form of a genealogy booklet in which the oldest human ancestor at the beginning and the last ones are on the last pages. From the examination of the beginning and end of these lines, the narration of several levels of the history of different dynasties is comparatively going on in this version. This format has turned the book into an ancient infographic that depicts the entire human history up to the 11th century AH simultaneously in the most complete and simplest way possible.
The approach of the discussion resulted in the fact that the thinking used in the way of arrangement and visual arrangement of the genealogical maps of this version was the result of the spirit of its time and like other Ottoman works, it was influenced by the atmosphere of Iranian book design. In addition, this version borrows the thoughts of the Byzantine painting tradition and the Baghdad school. These influences are repeatedly evident in the composition of the symmetry, spiral, fringes, and golden halos. Also, all the colors are metaphorical and formed according to the mystic-Islamic symbols ruling the time. The purposeful use of golden, red, blue, and black colors in different proportions for different people and families shows this claim. This version, while being abstract, has the most allegory and color perspective and authority. The existence of Iranian, Baghdad and Byzantine painting characteristics in a new fusion, shows the roots of the formation of the work and speaks of the creation of a new style of Ottoman painting based on these principles.

Coffee house painting is one of the distinctive Iranian painting traditions that dates back to centuries ago; but after the introduction of the oil painting into Persian Art under Safavid rule, experienced drastic developments and since, has striven to evolve in Persian visual tradition along Qajar period and has gone through ups and downs in later periods. The painters of this art style generally depicted religious, epic and folk themes; but basically, the main focus of the patrons and hence the painters was on the catastrophic religious epic of Karbala which narrates the martyrdom of Imam Hussein, the key holly figure in Shi’a School iconography, and his companions in the first century of the Islamic history. One of the most important paintings of the coffee house tradition is the Calamity of Karbala by Mohammad Modabber (d 1967): the second co-founder of the coffee house painting. Working along with his contemporary companion, Hossein Ghullar Aghasi tried to attend Kamal-Ul-Molk courses in order to make new developments in the folklore tradition. Seemingly Ghullar could not come along with the naturalistic style taught there and tried a more symbolic style for his works, but Modabber managed to make a new fusion in-between the two traditions and took his own personal way which later proved to be fashionable among more common citizens and even peasants living in rather remote villages, showing much passion for the visual- verbal narrative performances called Naghali. The whole tradition shows a rigor taste for a restricted number of themes and subjects; namely the religious epic of Karbala, and few subjects stemming out of the National epic of Shahnameh. The visual language of the works is usually astonishingly simple and easy to understand due to the low expectations for taste and understanding of the originally intended audience of the genre, hence makes it appealing to explore the visual system. Analysis of the works show a great application of binary oppositions in production of the narrative in the first sight. Thus, two basic questions will rise: How does this system function in the work; and how generalizable will the verdict be. The present article aims to find answer to the first question through a case study. The notion of binary oppositions was first raised by structuralists, and according to them, it can be considered as the basis for the formation of human language and consequently cognitive frameworks. The present study tries to address the issue of reading the love/hate opposite in the painting "the Calamity of Karbala" by Muhammad Modabber, as one of the most magnificent paintings in the period, based on Roland Barthes’ three-level semiotic model of analysis. The model basically published in his 1964 article, “Rhetoric of the Image” severs the textual meaning of the image into the lingual, iconic and visual levels and analyses each in its exclusive code system. The research is based on a descriptive-analytical method and collecting textual and visual data, with library research (articles and books), and seeks to answer the question: How does the love/hate sign system in the coffee house painting "the Calamity of Karbala" produce meaning through the denotative and connotative referential functions? In this way, the polarization of love/hate is pursued as a fundamental binary opposition in Iranian visual culture. The research findings acknowledge that: in the painting "the Calamity of Karbala" by Mohammad Modabber, the concepts love and hate show obvious dialectic relations in which love overcomes hate, symbolizing a body of opposite concepts in the same manner: obedience, loyalty, spirituality and sacredness, bravery and martyrdom, in opposition to treason, rebellion against the truth, idolatry and profaneness, cowardice and tyranny. Symbolic units provide no meaning independent of the whole set of the work; and it could be noted that the whole system of all these opposite meaning production units lead to a passionate system of emotional reflections alongside with the core narrative of the work, producing an active dialectic interaction between the work and the audience. Hence the work shows a full interaction of all three levels of image reading suggested by Roland Barthes, namely the linguistic, the iconic and the visual in a full range. Furthermore, the denotative message of the painting "the Calamity of Karbala" depicts a neutral narrative of an ordinary historical-religious event; yet, on the contrary the connotative messages, referring to alternative folklore understanding of the catastrophe of Karbala, tries to imply the spiritual superiority and victory of Imam Hussein's army against Yazid's army. In the Lingual level, the presence of the Imam Sajad, the succeeding Imam after Hussein is ignored and despite the figure depicting his holiness, resting as a result of his then sickness, there is no reference to his name in the work. In the iconic level, depiction of the supernatural entities, guardian lion and presence of the fictionally believed Indian army of Sultan Gheys, tending to help Imam Hussein are evident to provide the superiority of his forces; Even the visual management of the elements of work and the styles and expressions suggesting calmness and delight, are shown in figures and faces of all the companions of Imam Hussein during the fight and even their martyrdom. Figure of Imam Hussein in the middle of the upper half of the work is bracketed in-between a row of the deceased prophets on one wing and genies who have come to help on the other. This bracketing will function as a demarcation of the figure, yet the isolation of the holy figures in contrast to the lower sectors and the maleficent army, produces a sense of privacy and spirituality. Most of the righteous army is depicted in white robes against the dark siders in full amour; and white horses of the truth show a salient dominance on the dark horses. Although the account is in contradiction with the reality of the historical documents testified by the canonical authorities, yet it proves to be reflecting the spiritual tendencies of the believers to even change the course of history. In a general view, the image resists and tries to deny the reality of the drastic consequences of the event of Ashura and in order to defy its own believed account seeks to hold on the alternative folklore narratives. Hence the overall atmosphere of the work shows the tendency of love and its superiority over hatred in the work and tries to suggest the love and passion the artist and potential audience for the companions, historical and fictive figures and even the holly figure of Imam Hussein, which in turn could be interpreted as the contextual love of the whole culture for him; A cultural expression that could be identified as a symbol for resistance of folklore culture against the officiality of history.

When a person is confronted with an artwork, he speaks to it, reads it to himself, and achieves a degree of understanding and interpreting of it. Different thinkers and philosophers have offered different theories about this understanding and interpreting and what it is, and how to achieve it. The scope of these theories can be considered as a subset of two ways of thinking, namely structuralism and hermeneutics in philosophy and humanities. Structuralism seeks to methodize the understanding and interpreting of social and cultural phenomena and resorts to linguistics and semiotics through structures and patterns. Structuralisms speak with confidence and certainty about scientific methods that will lead to achieving the final, ultimate, absolute, definitive, comprehensive and complete interpreting of everything, including the art works. Hermeneutics is also known as the science of understanding, human works, and interpretation of texts. Hermeneutics also deals with the study of interpreting, human works, and the interpretation of texts. If we consider two different forms for hermeneutics, the first form is traditional hermeneutics, which follows the theories of biblical interpretation. It was founded on the ideas of thinkers such as Schleiermacher and Dilthey. The second form is contemporary or philosophical hermeneutics, which deals with the theories of Martin Heidegger and Hans-Georg Gadamer. Gadamer's philosophical hermeneutics deals with the study and philosophical exploration of interpreting and the necessary conditions for it. Therefore, there are different perspectives that discuss how to interpret the artworks. This study discusses how man interpret the artworks from the perspective of the contemporary hermeneutics of Hans-Georg Gadamer. Therefore, this research seeks to answer the question of how man achieves an interpretation of artworks. The aim of the current research is to understand how to interpret art works from Gadamer's point of view. The current research is "fundamental-theoretical" in terms of purpose and is presented as "interpretive-analytical" in terms of nature and method, and "library" is term of data collection method, and in terms of analysis method is "qualitative". After studying the methods that are used in qualitative research for data analysis, the phenomenological method was chosen with the approach of interpretive phenomenology or hermeneutic phenomenology, which was the most relevant for the nature of the research. This method is one of the most famous contemporary philosophies, which claims to interpret concepts in order to penetrate them. Therefore, in this research, we will also doubt all the past existing interpreting of art works and once again we will examine everything by the phenomenological method and from the perspective of Gadamer's philosophical hermeneutics. Therefore, it first examines the concepts of "artwork", "man", and "interpretation" and its relation to understanding and Hermeneutics, and then examines how man interpret the art works from Gadamer's perspective. In concept of "artwork", the research explained what art is, its relationship with techne, technology and aesthetics, and pointed out the reduction of the study of art to aesthetics in the Renaissance era and after. Also, the discussion about "man" and his position and dignity started from the Renaissance era and a fundamental change in the worldview of man. Man turned from heaven to earth. In other words, the human intellectual world gradually broke away from the values and thoughts with a supernatural orientation and turned to the thoughts and values related to the natural world and human life. As a result of Cartesian thinking, man was placed in the center and reached a new interpreting of concepts such as art and art works. Art was reduced to having a pleasant and artistic pleasure. And paying attention to instrumental and calculating reason, natural sciences, and scientific methods leads man to dominate nature, But Heidegger and Gadamer deny the thinking of their contemporaries. In concepts of "interpretation" and its relation to understanding and Hermeneutics, the existing translations of hermeneutics in Persian language were referred to and finally the differences of opinion regarding the translation of this word were ignored and the meaning of "to interpret" was considered for this word.
With these prerequisites, the research focused on the interpreting of art works from Gadamer's point of view. Gadamer's view on how to interpret an artwork summarized in seven key points:First point: man interpreting of an artwork is not an immutable, final, comprehensive, and complete interpreting; because man is always navigating this path and every time new ways appear in this path. Man, as an interpreter of artwork, will receive a manifestation of the truth of artwork at any point in time. Therefore, reaching certainty and a definitive answer has no place in interpreting the artwork in philosophical hermeneutics. From Gadamer's point of view, there cannot be a superior interpreting of artwork, and interpreting the artwork is an endless process and cannot be predicted.
Second point: interpreting the artwork is in many ways related to the concept of the game. These include going beyond the usual experience, understanding their rules and surrendering to it, having an uncertain end, and not being instrumental.
Third point: The artwork does not always have the same meaning, there are always different and multiple interpretations of an artwork, and different interpreters may provide different interpretations of the artwork. These interpretations will be different depending on the time horizon, historical perception of the interpreter and the relationship and interaction between the artwork and its interpreter. The endless number of interpretations of an artwork is possible and natural.
Fourth point: The mental background and previous knowledge of the interpreter of the artwork has a significant impact on his interpreting of the art work. The combination of beliefs, traditions, and perceptions that man inherits from his ancestral culture, society, and religion makes his interpreting.
These factors create a mentality for the interpreter of artwork in order to start a conversation with the artwork. When the interpreter encounters an artwork, his understanding and orientation towards that artwork is influenced by the totality of cultures and traditions that encompass his life and to which the interpreter belongs.
Fifth point: interpreting of artwork also occurs when a person penetrates into the language. In other words, interacting with the artwork leads to its interpretation. The interpreter of art work must first understand the language of art work, and a dialogue takes place between the interpreter and the art work. As a result, a common language is obtained. And interpreting comes from this common language.
Sixth point: interpreting of artwork is achieved through the hermeneutic cycle and questions and answers between the artwork and its audience.Seventh point: The time lag between the art work and the interpreter challenges the interpretation of it. Paying attention to the history of the artwork causes the emergence of a common language between the interpreter and the artwork and better interpreting.
In short, in the hermeneutic interpreting of the artwork, Gadamer proposes the absence of an unchangeable, comprehensive, complete, and final interpreting of the artwork. He proposes the entry of man into the artistic game. He points to the existence of different and multiple interpretations of artwork. He considers the mental background and prior knowledge of the interpreter to be an important point in interpreting the artwork. He finds the artwork in dialogue and conversation with man. He also considers the interpreting of artwork to be dependent on the understanding of the language of artwork. He interprets reaching a common language as a hermeneutic round.  And finally, he introduces attention to time and history in interpreting artwork.

With the collapse of the Qajar dynasty and the rise of the Pahlavi government, Iran underwent many changes. The main thing that Pahlavi paid too much attention to was naming Iran as a country which has an independent identity in the whole world. Since the concept of "identity" is always hidden in the content of a "culture", the culture of any country or nation represents the identity of that country and that nation.  The ideals of the Pahlavi government were all those things that were mostly planned with constitutionalism and continued under the shadow of the intellectuals' support and the authority of Reza Shah, in the form of an imperative modernism. Based on this, the cultural policymakers of the first Pahlavi era, in order to build a desired "national identity", formed a discourse space so that they could advance their ideology.  A secular policy that tried to weaken the role of religion as much as possible compared to the culture and civilization of ancient Iran.  Therefore, a cultural sphere was formed on the basis and core of the Iranian identity. The desire of the Pahlavi statesmen to modernize Iran in line with global developments required that modernity, secularism and Westernism be part of the transparent layers of this cultural sphere, and they were other components compared to the two layers of nationalism and antiquarianism. Totally, these components formed a sphere that legitimized the cultural discourses of the first Pahlavi and gave meaning to all kinds of signs within it with the denotation system it produced and made them its own.  As Lutman pointed out, everything outside of this sphere was a chaotic world of zeal and unculture that had to be crossed to enter this sphere. Crossing the border meant harmonizing with the components inside the sphere.  Here, every traditional matter, if it wanted to enter this sphere, had to be coordinated with the discourses emerging from this cultural sphere, but the traditional arts, specifically painting, were able to continue within the cultural sphere of the Pahlavi period because it is one of the components of the second layer.  The transparency of this concept was "nationalism", traditional arts were considered a part of Iran's ancient history, which could include cultural and historical credit for Iran. As a result, focusing on traditional arts could both emphasize the values ​​of Iran's cultural history and be in line with the goals of cultural propaganda which Pahlavi used; As a result, organizations such as the National Works Association were established in an attempt to institutionalize and systematize traditional arts.  Reza Shah himself emphasized that he should be recognized as a person who has brought about the revival of Iranian national arts.  In the meantime, painting gained special importance and was able to find a special place in the discourse of Iranian art after about three centuries.  The attention of the academic and artistic circles of the world to Iranian arts, especially painting, the compatibility of painting with aspects of nationalism and its historical function, highlighted the place of this art in the cultural sphere of this period.  The establishment of museums and the participation of painters in world exhibitions and the establishment of art conservatories were some of the steps that made the painting of this period the beginning of a new trend in traditional Iranian painting, and as it was analyzed, the harmony with the components of the cultural sphere of the first Pahlavi period played an important role in the expansion of this art in this era; So during the Pahlavi period, painting flourished again, and many artists of the Qajar school, who worked on lacquer works, also turned to painting.  Among their prominent examples were Haj Mosavar-ul-Molki and Hossein Behzad.
 Now, according to the rule of the discourse of modernism, painting should have certain characteristics so that it can gain legitimacy by crossing the border of the cultural sphere of this period.  We have already seen that the core of the first Pahlavi cultural sphere with the centrality of Iranian identity was surrounded by many layers, especially modernism and nationalism.  But instead, nationalism first of all required the consolidation of historical and national values; therefore, the duality of "modernity" and "authenticity" were placed against each other.  Reza Shah's cultural policy needed both of these in order to consolidate his soft power, as much as modernism was able to redefine culture in line with Pahlavi policies, at the same time it was able to marginalize some foundations of traditional culture, including artistic types, from the cultural field.  This was if the government needed to keep some traditions alive to instill a sense of patriotism and a sense of rootedness in Iranians.  This is where the need to selectively revive some traditions became important.  An example of this policy can be seen in Reza Shah's speech to students sent abroad: "I don't want to turn Iranians into a bad European version.  This is not necessary because there are strong traditions behind them. These traditions helped to form a fusion between different historical periods as well as among the many ethnic groups of Iran. In first Pahlavi’s art, there is a companionship between tradition and modernism; in order to have a correct way of applying this combination to art, first of all it should be brought in to the system of education, that is, establishing institutions for teaching, researching and preserving the heritage of traditional arts, which led to the establishment of institutions such as "Association of National Artifacts" or " It became the "Higher Academy of Iranian Arts".  The Association of National Artifacts became the base of elites who tried to make the Iranian nationalistic trend public from the heart of its cultural history and traditions.  As it was described, a set of policies was formed in the field of culture, which led to a cultural sphere, which, according to Yuri Lutman's theory, was made of the core of Iranian identity and the transparent layers of modernity, nationalism, archaism, secularism, and Westernism.  According to this approach, any kind of cultural event that occurs during the Pahlavi era must be adapted to the components within it by crossing the border of this cultural sphere so that it can be accepted in this cultural system.  Based on this, the problem of this research is the status and position of painting within the cultural sphere of the Pahlavi era.  The research method is also the description of the cultural conditions of the first Pahlavi period and its analysis based on Lutman's symbolic sphere theory, with the aim of obtaining a more detailed understanding of the relationship between the cultural policies of that era and painting.  The findings show that the desire of the first Pahlavi government to build a new national identity made the historical components the most important pillar of the ideology of nationalism in this era, which led to the support of traditional arts and painting, which was revived in the wake of nationalist currents. Global attention to Iranian art, especially book design, was another factor in the prosperity of painting in this era.

The Qajar dynasty ruled over Iran for about 130 years (1796-1925). As the Qajar rule in Iran coincided with the Industrial Revolution in the west, traditional methods of textile production were gradually replaced with industrial manufacturing methods and similar imported textiles. However, handicrafts and conventional textile production and finishing supplied the domestic demands to a large extent for a long time. Textiles with “Mihrabi” (altar) and “Toranj-dar” designs, whose production was dependent on advanced weaving techniques such as Ikat or finishing processes including “Qalamkar” printing and “Ruduzi” (embroidery) because of the application of principle of axial symmetry (mirroring), were used to finish and decorate living spaces and shelters like houses, palaces, and camps in the Qajar period in Iran. This study aimed to examine textiles with mihrabi and Toranj-dar designs in this use. Accordingly, the main question was: What were the usual designs, motifs, uses, and production methods of textile hangings in living spaces in the Qajar period? Most previous studies have focused on frequent instances in clothing, highlighting the significance of studying textiles. Moreover, Mihrabi and Toranj-dar designs (used frequently in Qajar hangings according to the study hypothesis) were neither used in the clothing of the time because of the mirroring principle nor portrayed often in the numerous Qajar paintings - as a crucial area of research. Therefore, this study attempted to explore this neglected topic in depth using primary historical sources such as travelogues, pictures, and available images of tangible instances preserved at museums. In this descriptive-historical study, the data were collected through library research, indexing, and image analysis. Qajar travelogues by Charles Auguste Bontemps, Maurice de Kotzebue, James Justinian Morier, James Baillie Fraser, J. M. Tancoigne, Gaspard Drouville, Joseph Arthur de Gobineau, Mme Carla Serena, Heinrich Karl Brugsch, Ernest Orsolle, Henri Moser, Joannes Feuvrier, Charles James Wills, Henry d'Allemagne, Eugene Aubin, and Clara Colliver Rice were examined. Images and tangible instances at the National Museum of Iran, Golestan Palace, and Institute for Iranian Contemporary Historical Studies, and works preserved at museums abroad including the Victoria and Albert Museum in London, the Brooklyn Museum, the Cleveland Museum of Art, and Hamid Tavakoli’s private collection were analyzed. The retrieved instances were categorized and a total of 22 Qajar textile hangings with half (Mihrabi) and quadric (Toranj-dar) axial design were selected. Sixteen hangings had Mihrabi design and six had Toranj-dar design. The results of the qualitative study of texts and images demonstrated that the textile industry was fundamentally changed in the Qajar era by the industrial methods and extensive imported textiles. Nonetheless, domestic productions with conventional methods supplied most of everyday demands for textile from the royal court to the economically disadvantaged classes of the society. It can be concluded that handicraft workshops in cities like Kashan, Yazd, Mashhad, and Isfahan were active in golabatoon-duzi, abrisham-bafi, shawl-bafi, shaar-bafi, chelvar-bafi, cotton weaving, and other crafts in the early years of Qajar period in Iran. In the early decades of the 19th century, Iranian industries survived the insecure conditions after the fall of the Safavid dynasty and was revived when the Qajar rule was firmly established. However, political developments in this period along with Iran’s expansion of business relations put domestic crafts in a competition with the imported western goods. As small domestic industries were not able to keep up with them, the workshops shrank in number. According to credible historical documents, in mid-Qajar period and during the rule of Naser al-Din Shah, various textiles with different qualities were produced with traditional methods but sold in competition with imported textiles. As this trend continued and foreigners pushed to dominate the Iranian market, the advancement of domestic production was grievously hindered. Therefore, although handicrafts survived for the first fifty years of Qajar rule, Iranian traditional industries failed to prosper except in carpet weaving and other crafts whose products Europeans favored. Research on Qajar textiles has focused in used instances in clothing; however, some designs like Mihrabi and Toranj-dar that follow the principle of axial symmetry (in half and quadric form, respectively) have been neglected since they were considered unfit for the aesthetics requirements in clothing at the time. Furthermore, such designs are often known by loom weavings or with their use in mats like prayer rugs or “Boghcheh” (a kind of bindle used for packaging small-sized items), while textiles with axially symmetric designs were extensively used as hangings in living spaces in the Qajar period. This study indicated that textiles with Mihrabi design were largely used as louvers, curtains, brackets, wall hangings, and tent coverings. In addition to these uses, especially as louvers - although less than textiles with Mihrabi design - textiles with Toranj-dar design were used particularly as “Taqcheh” (niche) and mantelpiece coverings. Other designs such as “Ravai”, “Vagireh” (tangled), “Afshan” (scattered), “Muharramat” (striped), and “Katibeh” were also used for these purposes and some like Ravai and katibeh designs seem to be have been prominent as wall hangings (particularly during public mournings). Nonetheless, the historical written sources and analysis of images of instances showed that Mihrabi and Toranj-dar designs were more frequent in textile hangings, decorated in most cases with floral motifs. In Mihrabi design, human and animal forms were also used. In fact, textiles with Mihrabi design used as tent coverings and wall hangings foregrounded the human role and thus, the final product was more fit for the inner part of the living space rather than outside. on the other hand, Mihrabi and Toranj-dar textiles with floral and animal motifs were used both inside and outside the living space. Sometimes geometric motifs were used in Mihrabi and more frequently in Toranj-dar designs given the embroidery technique known as “Cheshmeh-duzi”. However, overall, floral motifs were more dominant and woven symmetrically. As the mirrored designs followed the principle of axial symmetry and avoided repetitive patterns all over the work, creating these designs was very difficult at the time of production, and when created during weaving, complex techniques such as embossing and Ikat were used. Therefore, the designs were often created with finishing processes such as Qalamkar printing and Ruduzi (embroidery) like Cheshmeh-duzi, Rashti-duzi (Rasht embroidery), and Golabatoon-duzi. The results of this study indicated that symmetrical (mirrored) designs as Mihrabi and Toranj-dar with floral motifs were the most frequent ones in the production and weaving of Qajar textile hangings used as louvers, curtains, wall hangings (particularly during ceremonies and feasts), and Taqcheh, mantelpiece, and tent coverings despite the use of other designs and motifs (even plain forms). Nonetheless, human and animal motifs were also used, although less frequently, in Mihrabi design and geometric motifs were used in both Mihrabi and Toranj-dar designs according to the weaving technique (Cheshmeh-duzi). Therefore, although other designs including Vagireh, Katibeh, and Ravai or even plain textiles were also used, Mihrabi and Toranj-dar designs with floral motifs or minor human and animal forms, particularly in Mihrabi design, were the most used textile hangings in living spaces during the Qajar period. They were supplemented by floral forms and sometimes animal motifs following the “Gereft-o-gir” (animal fight) motif or birds on branches of trees, for which Qalamkar printing was often used. In sum, textile hangings in various colors and qualities resulting from different production techniques were used in living spaces during the Qajar period in Iran. The textile hangings were used to refine the living space and the most frequent designs were Mihrabi and Toranj-dar, respectively, with the dominance of the floral motif. This article was extracted from the first author’s research project titled ''Analysis and Categorization of the Designs and Motifs on Qajar Textiles (1796–1925 AD)''. Approved by the Research Center of Traditional Arts in Research Institute of Cultural Heritage and Tourism organization (RICHT), this in-progress project aims to link University of Art in Tehran with the society and industry.

Relying on the functional approach, Halliday's Functional Linguistics and the Visual Grammar of Kress and Leeuwan (2006), the present study examines two ekphrasis: William Carlos Williams' verbal efrasis from " Landscape with the Fall of Icarus " and visual ekphrasis of Mehdi Zamni from a poem by Ali Akbar Rashidi entitled "Habit". In the first ekphrasis, there was a reversal from visual (painting) to verbal (poem), and in another from verbal (poem) to painting (visual).
At the interactional layer, painting expresses the inattention of represented participants to the fall and drowning of Icarus through a nontransitive gaze; That is, through the non-interactional perspective of the represented participants (farmer, shepherd, man on the shore, the inhabitants of the ship) that no vector has connected them to each other and to the side which Icarus is sinking. There is no exchange of views between the represented participants, otherwise there should have been a commotion. The relationship between farmer, the shepherd, and the man on the shore is non-transitive so that everyone is doing his own job, in connected with his own particular subject matter (the farmer looks to the miner, the shepherd to nature, and the man on the shore is bent over the water on the beach). In fact, their figure in the painting is merely representational; something is represented for information and thinking.
Painter has located the place the Icarus is sinking in the background of the image and has minimized the Icarus foot so that the viewer hardly can see it, and perhaps only with the help of the title. Nontransitive perspective is dominant in both interactional layers (represented participants' interaction with each other and the viewer's interaction with the represented participants). Since the represented participants do not look at each other and to the place which Icarus is drowning, the beach space can be read according as this: Everyone was doing their own job. Lack of interaction is expressed in the verbal text with the mental process, with adjective "unnoticed". Therefore, what the image represents in the form of an interactional layer is expressed by the verbal text in the ideational metafunction and mental process.
In the verbal text, the constraint of time, the relative clause, and the constraint of quality are the three structural elements that have made interctional representation in the verses "when Icarus fell", "a splash quite unnoticed this was Icarus drowning" and "unsignificantly off the coast there were". These elements have indicated the fall of Icarus, its insignificance, his drowning, and the ignorance of others. The painting indicates the concept of falling through the layer of title, otherwise no one might attend to the side of Icarus just through his eyes (vector of looking). Also the painting has indicated the insignificance of Icarus' drowning through placing Icarus in the background. Thus, the visual text to represent verbal words "insignificance" and "inattention" the elements of composition (perspective and background); In other words, it represents insignificance by placing Icarus's sinking in the background and inattention through the represented participants not looking at each other and not looking at Icarus's sinking.
The comparative analysis showed that the verbal text can generalize different elements within the verbal text because it has the capacity for generalization and abstract expression; another words, verbal syntax causes less representational elements to be reflected in the text. For example, it expresses different objects as water, rocks, ships, water space, etc. only by the word "beach", at the same time, the verbal text provides more detailed details than the visual text at interactional layer.
The present study showed that ekphrasis occurs in two forms (visual-verbal and verbal-visual), and in each of them, part of the meaning is represented in target text (ekphrastic text) and part remains in the source text. In the painting "Landscape with the Fall of Icarus", there are many representational elements that are not reflected in the verbal text (ekphrastic text). In this way, what is represented in the image through representational layer, in the verbal text it is done in the form of ideational and interpersonal metafunction.
This result shows that what is represented in each ekphrasis is a metafunctional translation. Thus, metafunctions and layers of meaning, despite being tools of analysis, should not be considered as stereotypes, because all three metafunctions can do representation and make meaning, and at the level upper than the clause, logical metafunction also makes representation in both verbal and visual representations. Logical meaning in the image is obtained by adding the meaning of different layers.
Examining Mehdi Zamani's Ekphrasis entitled "Habit", the informative structure is changed, as what is "given" in the verbal text appears "new" or the "canon" in the painting and vis versa.  For example, sparrow is an adjective in the verbal text and represents "I am a sparrow" but in the painting, the sparrow is represented as an actor which represents the concept of "the sparrow is waiting". In the verbal text (poem) the sparrow is at the beginning of the clause (theme) and represents the mental process but in the painting it represents an interactional meaning.

Visual communication (graphics) is a knowledge arising from visual literacy, knowledge because it depends on visual literacy more than any discipline in visual arts, and topics such as standardization, creating visual unity for a collection, optimal use of positive and negative spaces, etc. It has great efficiency in clearly and quickly presenting a message, which has a short life in Iran. Video communication in a professional and focused manner with a personality like Morteza Momayez, was identified and recognized. Therefore, the ideal role given to him as "Iran's Graphic Father" is fully deserved, as a decade after his death, his position in the field of visual communication production has been preserved. The field of visual communication production started its early life as an independent and serios field in the art and commercial market, from the early activity period of Momayez.
 As a powerful activists of Iran visual communication champ, Momayez was very influential.  It should be mentioned that visual communication is always interconnected with two structures: activists and social space, and the effectiveness of these two has challenged many professional and research discourses of this area. The most important research in the champ of graphics have been done with topics of semiotics, structuralism, and social semiotics. So many issues such as the distinction between market and artistic visual communication remained without rooting. Sociological topics of the champ of visual communication can develop an etymological and at the same time a pathological context. In the meantime, what Pierre Bourdieu has done to connect objective and mental structures creates a useful context to challenge professional champs of the societies. By defining the terms champ and habitus, he tries to connect the two- dimensional space of theoretical foundations of sociology (topics such as mental structure, micro and macro mental structure, etc. The champ is a network of relationships that exist between objective positions within the champ. Different areas of life, art, science, religion, economy, policy and so on forms small distinctive models of rules, regulations, and forms of power which Bourdieu calls them the champ. In the first-place champ is a structural space of positions and has a close relationship with habitus. Habitus refers “the mental or cognitive structure “through which human interact with the social world. Habitus is formed because of the long-term occupation of a position Reading the social world and changes according to the nature of individual’s position. Champ and habitus define each other.
 Having their own habits, social activists compete in the champ. This competition is very essential to create position of activists, so the activists begin different activities in the professional champs and shape their vital power depending on the position they hold in the champ. Some activists make constructive and vital impact during his lifetime Momayez as the main activist in the champ of visual communication in Iran gave this champ a fame and a worthy place among other artistic champs. The hypothesis of the present article is that as an independent and powerful activist Morteza Momayez could affect the champ of visual communication production and direct it. His power and influence was due to his habitus. This habitus was the creator of visual communication champ so that the course of visual communication owes most of its professional processes in the champ of Academia, market as well as its artistic aspects to his effects. According to theoretical foundation section an artist’s habitus is derived from one 's capitals (the extent and relative weight of capitals of different factors reading a champ determined their positions) Bourdieu uses military illustration (position and castle) to describe the champ and the conflicts that take place within it. Capital allows one person to control his own destiny as well as that of others. Bourdieu usually speaks of 4 types of capitals.  Of course, this idea is derived from economics and the meaning of economic capital is obvious. Cultural capital includes various types of legitimate knowledge and cognition. Social capital includes social relationships between people. Symbolic capital comes from the dignity of the individual. As the most famous Iranian graphist, Momayez has all these main capitals. These capitals enabled him as the father of Iranian graphics to create a special habitus which has had an important role in the champ of visual communication. In present article we study his four capitals and examine their roles in enhancing the champ of visual communication production of Iran, since despite much praise and appreciation given to Momayez no article has determined his importance scientifically. By using the theory of distinction of Bourdieu we are going to appreciate the effective character and habitus of Momayez decently and scientifically. The results show a champ raised from a powerful and incorporated network with centrality of Morteza Momayez.  Such a power comes only from a person who has an uplifting habitus originated from these capitals. Without his presence the champ of visual communication was not able to achieve independence and identity and if it was, it took too much time and needed more practice. All these three areas build the champ of Iran visual communication so that in this paper by investigating cultural, social, economic and symbolic capitals of Momayez and determining the effect of each of them in the champ of visual communication, we analyze his habitus. It was his constructive cultural capital and his visual knowledge and curious spirit that helped him to increase his proficiency in different areas, therefore he could enrich the art of visual communication. Momayez became a symbol due to a lifetime of activity in the champ of visual communication. He is considered a symbolic capital whose status and prestige have not diminished over time.  Momayez is so distinguished in this symbolism that he is called the father of Iranian graphics. In fact, he is not just a cultural and artistic character, but he has become a symbolic capital. He both as an illustrator and graphic designer has been effective in developing the graphic quality of Iran.
 From the perspective of research goal this article is considered fundamental and is conducted by descriptive analytical method. Data collection tool is taking notes, and the data is collected as documents. The main variables of this study are visual communication champ of Iran and time which include the lifetime of Momayez from forties to eighties. Analytical variables of this research is theory of distinction of Bourdieu. Data and information are provided in two parts: the1st parts deals with theoretical foundations that include contents of the theory of distinction and its subdivisions, 2nd part relates to Morteza Momayez, his biography, professional situation and so on. Finally, these two parts are used to analyze the champ of visual communication of Iran. To clarify the theory and achieve better results we use tables and results.

Calligraphy has a special place in Islamic civilization and post-Islamic Iran. One of the most widely used post-Islamic manuscripts is the Naskh, which writes the typical books and small Mus'hafs. The traits of this Calligraphy include cleanliness, balance, level and distance, and the same strengths and weaknesses. It is also the basis for the design of most contemporary typographies because it is easier for readers to read. This study aimed to investigate the possibilities of indentation in Persian script scripts by writing method based on the technological capabilities of variable font design. Accordingly, the research method is qualitative and practical in terms of purpose. Data collection was done by survey and by referring to library resources for filing and direct observation of works and their comparison with each other. The case studies of this research have been selected from the leading Iranian manuscript writers from the seventh to the thirteenth century AH. Yaghoot Mustasemi (7 AH), Abdullah Tabakh (9 AH), Shams Baysanghari (9 AH), Ahmad Neirizi (12 AH) and Mohammad Shafi Arsanjani (13 AH) have been studied. The reason for choosing these calligraphers is that they were able to create a unique style in writing calligraphy. Also, by selecting calligraphers from different periods, diversity in the way of writing Iranian manuscripts is considered, and it is possible to study more tastes. The selected works are all selected from the writing of Surah Al-Hamd - written by these calligraphers - to allow the comparison of a written sample with the same content among the works of calligraphers. Another reason for choosing this particular surah is that in most writings, Surah Al-Hamd has been written in a unique way and with fewer lines or larger fonts, which shows the greater attention, accuracy, and quality of these manuscripts in the works of calligraphers. An essential difference in the indentations in examining each piece will be connecting the letters with their dimension or before. Since the location of points relative to the letters is not essential in the study of indentations, the set of notes is divided into two groups "B, P, T, S, N, Y" (which in this study is called group "B") and "S, Sh" (Which in this study is called the "sin" group) is reduced. On the other hand, according to the location of the dent, the words of all indentations can be divided into the five groups: group "first b," group "middle," group "last," group "only," and group "sin."
To analyze the indentation changes in Surah Al-Hamad, only the indented part of these words is examined, i.e., in words: Bism, Rahim, Rabb, Al-Alamin, Yum, Al-Din, Ayak, Nabd, Nasta'in, Ahtna, Al-Mostaqim, Allazin, Alnamta, Alayhem, Qair, Al-zallin. For ease of review, several words that are repetitive and similar in terms of dent form, such as "Ya" in "Ayak" and "Na" in "Ahtna,” are removed. The part of the word in which the indentation is used is also examined. For example, in the word "al-Din,” there is an indentation only in the "yen" section. Therefore, the compounds considered in this research are as follows: Bism, Haim, B, La'almin, Yu, Yin, Ya, Nabd, Nasta’in, Na, Lmostqim, Yen, Nemat. It is also necessary to explain that the three words "Alayhem" "Qair" and "Al-zallin" are not considered because of the similarity of the place and type of teeth in them with other words.
To achieve a method for analyzing dent changes, define seven indentation characteristics in the Persian scriscriptor of chair placement, pen cut, pen thickness, strengths and weaknesses, elongation, ascent and descent, and decorations, respectively, and then in each of these five versions. The indentations have been analyzed according to the writing to get their effect on the letters’ design. The results show that in the measured indicators in terms of length, the difference in thickness in the discussion of pen thickness is minimal and can be ignored. The characteristics of strength and weakness are also slightly different, but due to its minimum amount, it has a difference of nearly three times its maximum. In-chair placement and elongation, the amount of difference in different groups of indentations is very significant, and the difference between the minimum and maximum characteristics in the elongation index is more. Regarding the measured indices in terms of angle, in general, between the two studied indices, the minimum and maximum difference between the ascending and descending indices is more noticeable than the pen angle. Also, the variable does not have a specific value in the decorations section. However, the decoration of calligraphy on the indentations, due to the use of this possibility by some calligraphers, can be considered a possibility in typography design. In general, the amount of variability of the features can be regarded as from order to more or less in the teeth of the script in the way of writing: Thickness difference, strengths and weaknesses, embellishments, stylus, ascending and descending, placement and elongation.
Based on this, in Dent font variable design, an attempt was made to show the degree of variability and its effects on the indentations of Persian script letters with the software capabilities of variable font design. Therefore, it is possible to implement this possibility in other letters of the transcript line, read Dent’s designed font, and create more options and variations in letter design. Finally, based on the achievements of the research and according to the technological capabilities of the variable font, typography called Dent was designed to show the applicability of the study. In this typeface design, variability of the seven studied features was considered, and the axes were developed and introduced based on the variables. According to the research, six items which introduced as variable features, but since the strength and weakness and angle (diameter) of the pen have the same result in the typographic design, these two features are considered together, and finally, five main axes for each The variable index was applied to the typeface in order of its effectiveness: first axis: stretch for the stretch index; second axis: height (height) for the chair placement feature; third axis: slope for ascending and descending characteristics; fourth axis: angle for two characteristics: pen angle, strength and weakness, and fifth axis: ornaments (serif) for ornaments. Also, according to the five-axis design in typeface Dent, other main modes are designed. These states are considered binary, triple, quadruple, and fifty based on the maximum axes.  Accordingly, thirty-one different ways can be designed for each glyph. Also, some glyphs can be divided into various components. The repetitive elements of each glyph can be repeated in other glyphs, thus making it possible to change the axes more quickly and uniformly.

Parenting experts have always highlighted the significance of developing children's various skills from an early age. Notable among this set is upskilling a child's creative thinking, which is achieved through a variety of ways using a wide range of tools, such as playing, building, or assembling surrounding elements. Apart from the games played in real-time, other instruments to foster creative thinking in children are texts and images, referred to as separated[i] and independent representations, respectively. Each of these two languages finds accentuated or abated application in different education levels and courses. Typically, visual language plays a profound role in education from elementary to middle school. At the beginning of middle school, however, visual language gradually fades away, and written language begins its domination. While both these languages have specific applications, written language is often temporal and visual language is often spatial. Despite the unique and singular role of written language in education, the advent of web-based digital media resulted in a more-than-ever-underlined efficiency of images with education-focused technological combinations.
Currently, with the burden of child education being laid upon not just educational centers but families, it is of great importance to gain knowledge of media platforms and their applications, given the present circumstances. The significance rises when we realize that technological changes have affected media applications, constantly shifting their place. The present article addresses two media, i.e., illustration and photo. In the field of child education, these media formats are referred to as old and new media[ii]. Through disclosing part of the elements and phenomena, illustration, as the oldest medium, and photos, as a more modern medium, convey specific meanings to children aligned with their future path.
The present research compares these two media and their roles in developing children's creative thinking based on some of the visually-pertinent-categorized components of creativity. Accordingly, the study addresses the question of similarities and distinctions between these two media, which are referred to as the visual, in fostering children's creative thinking. Ultimately, it is determined which of these two media efficiently functions in this regard. In this comparative study, 'photo' refers to an unedited, unmasked item coming from a camera. Furthermore, the two subjects, i.e., photos and illustrations, are merely compared in terms of developing or the effect on fostering children's creative thinking. Other aspects are beyond the realm of this study. The target research age group includes preschoolers to 6-year-old children.
This research, which is a work in the class of cultural studies and a subdirectory of qualitative approach, employs library sources and visual evidence to conduct a comparative study on two visuals that affect children's creative thinking. Since the research concerns comparing two visuals, figures, graphs, and images are used to describe the text and provide a better understanding of the given examples. Finally, the conclusion is descriptively and analytically presented by analyzing the visual elements and signs and their association with textual topics.
In an article entitled "Illustration in Children's Books and its Effect on Children's Development and Creativity," Safipour and Homeili (2013) regard illustrated books as the first step in children's development and exaltation and an assistant in teaching discipline and perception of sequence and recognizing the similarities and differences in children's future path. In another article entitled "Paving the Way for Creative Idea in Illustration," Fadavi and Etebarzadeh (2014) present a series of visual samples from some Iranian illustrators, concluding that creativity enhances the audience's insight and knowledge.
In an article entitled "Realism in Photography: From the Perceptual to the Scientific," Valinezhad states that due to its realistic nature, a photo opens two windows to the universe: one is along our visual experience, while the other adds to our awareness and knowledge by offering various chances. The author explains different (perceptual, conceptual, and scientific) types of philosophical realism and gives evidence from two (perceptual and scientific) types. Accordingly, he analyzes the two varieties comparatively. Ultimately, he investigates the scientific-realistic approach in photography and analyzes the potential of this medium from an epistemological point of view. Eventually, he concludes that realistic photographers can convert reality into theory and vice versa and serves as the intersection between perceptual, critical, and scientific realism.
In an article entitled " Photograph: Challenge between Explicit and Implicit Meaning," Motarjem Zadeh (2016) explores the two given implications in analyzing the meaning of photos and dismisses them as irrelevant to the contemporary era. He also recommends other implications, such as major, minor, or robust implications in photo-extracted meanings.
Going a different way from other research, the present article elaborates on the role of two visual media, i.e., photos and illustration, in fostering children's creativity and exemplifies the merits of each medium.
According to the research findings, illustration is an unstructured and defamiliarizing construct as it combines different art techniques; it offers broader interpretations and analyses due to the meanings it reflects. It is from this feature of illustration that more ideas and judgments arise, giving more efficiency in developing children's creativity. On the contrary, the function of photography in fostering children's creative thinking is usually regarding familiar phenomena or an exemplification of reality with exquisite and naturalistic details of less-appreciated images with limited symbolic codes. The output of photos often and typically results from the function of technological tools and the photographer's real-time thinking at the moment of recording real phenomena in the surrounding environment. Less diversity of meanings is expected from real phenomena as they are more recognized and specified. Therefore, photos are more fitting for occasions when greater control of meaning is desired.
 
[i] Kress and Van Leeuwen refer to the verbal language and visual signs as separated and independent languages, respectively, stating that each served specific purposes, such as history, mythology, genealogy, business trades, and recording and measuring abstracts (Kress & Van Leeuwen, 2009, p. 14). 
[ii] Kress and Van Leeuwen refer to them as two types of "old and new visual literacy" in children's books and state, "the old visual literacy of images is an unstructured transcript of reality (illustration), and the new visual literacy is a transcribed version of reality (Kress and Van Leeuwen, 2009, pp. 14 – 15).

The advancement of digital technologies has impacted a variety of artistic media and provided the artists with diverse modes for expressing their ideas. One of these methods is using digital technologies in the form of interactive installations that achieve their artistic goals through the affective presence of their audience.
Understanding great artistic works occur simultaneously at the four levels of perception, emotional, mental, and spiritual. Therefore, a part of the strong effect of digital media is created by the five senses. Using the five senses in understanding artistic works has always been an effective method for aligning the audience with the work. Digital systems recreate and present a simulation of this method in most cases. Nowadays, technology creates messages alongside novel capabilities for artistic media to present a different presence and understanding for their audience. Technologies have different special capabilities and capacities that limit different types of interaction between audiences, content, environments, active message providers while creating different capabilities and interactions. Besides information transfers, digital capabilities present different experiences to the audience alongside. Any digital artifact is a wide page of video games, physical figures, interfaces, appearances, and feel of a user experience section. Any digital artifact will be shown to the user when needed. Still, artistic works that are created by the digital industry are capable of communicating for concept transfer while being able to recreate the creator's experiences indirectly for the audience or visitor. All techniques presented by digital technologies to the artist for creating their works can help users to leave behind their passive state and gain a novel active state.
Erving Goffman is an American sociologist that has many different theories in the field of sociology and social interaction. Erving Goffman was an idol-like character in the world of sociology for years and came to this high level of theory crafting in the 1980s. The framework analysis is one of his major theories. He published the framework analysis theory in 1974, which presented a novel analysis method that had gained his attention from the early 1950s. Goffman defines social organizations as places that limit the senses with their fixed obstacles where a certain kind of activity happens in it regularly. We regularly observe that these environments are divided into the behind-the-scenes, where the necessary preparations for a process are predicted, and front-of-the-scenes, where the process is performed. There are interactions in the Goffman social organizations that lead to information transfers. Goffman believed that when somebody is present in front of others, they usually start gathering information regarding him or active their previously known information. Information regarding anybody helps define the situations, enables others to know what he expects, and what they can expect from him. It seems that a fundamental dialectic is the foundation of all social interaction; when somebody is in the presence of others, they want to discover the facts of their situations while if they have information regarding that situation, they will be able to predict what will happen and facilitate the conditions for occurrence. Therefore, most knowledge and information regarding people's situations in facing others are gained using interactions when people are in the presence of each other. So, a definition of the intended situation is presented to the audience so that they could gain some knowledge regarding that situation. When there is an occurrence or interactions that happen on the contrary of the created situation or expectations, they create the following situations. The present research seeks to analyze the art of interactive digital installations using Erving Goffman’s “framework theory” theory through adopting a descriptive-analytical method and collecting data through desk research. The research also aims to address the manner of framework development in audience’s mind and examine how the audience develops a desire to interact with the piece of art. It is assumed that an interactive piece of art can adapt to the framework theory that addresses audience’s comprehension and how he plays a role in social life since it requires the audience to participate as a part of the piece to complete its concepts. This is because the audience of an interactive piece of art is first witness to another audience’s interaction with the piece, and is afterwards put in the piece’s specific framework and plays a role based on his inference.  Thus, should the audience encounter a predictable piece of art, the encounter shall be analyzed through the primary framework in which the witness is also considered to be the observer; but should the audience encounter an unpredictable piece that cannot be framed, he enters phases such as solution-seeking and story-making, marking the experience as a complex one in his mind. Such phases are guided by communicating with audience that have previously interacted with the piece. In the initial framework step, the audience or participator becomes the spectator of another audience member interacting with the work. During the second framework, the audience decides to interact with the work. He enters the work in the response step and interacts with the work under a controlled and planned method during the control step. After the work interaction step, the audience reflects on the work. The audience member understands the work message during the fixation step and terminates their connection. Here, the three-dimensional concept of the audience image creates a virtual reality, which considerably motivates him and other audience members. This situation is a scenario that provides digital layouts for its audience. Digital layouts have turned into one of the leading fields of digital art due to their technology-provided capabilities, and attention to the interactive nature of modern arts in the artistic work experience and interactive arts. Virtual reality allows you to touch three-dimensional images, which allows the audience to fully enter the virtual world created by the artist. Works of interactive arts intend to attract the audience by collaborating with the desired piece; therefore, the audience can be encouraged to collaborate with the piece by using the Guffman framework theory that believed in presenting an effective pattern by the main artist because in this way the audience member can create a story that will happen in front of him with experimental complexities while problem-solving.  According to the proposed theory, the relationship between the digital interactive art of the mirror from Nobimichi Asai with the stages of audience interaction has been analyzed in five stages of response, control, reflection, belonging and disconnection. In such a way that the audience will only see the work of art if they are observers; But it is in the second context that interaction takes place.  If the artist announces the framework and program of the audience's presence in the work of art to the audience and he is aware of the work process, this information will probably make the audience more willing to accompany and participate in the event; Also, if a model is presented as a general framework of the work, the audience, while finding solutions, will create a story and become familiar with the empirical complexities of the work, so a greater tendency to interact with the work will appear in him, which is one of the main goals of each work.

In the twenty first century, we face the development of the presence of toys in the fine arts. They present a world of happiness to the addressee. Because of their universal language and the great emotional connotation, they inspire, toys, as attractive consumer goods, conform to some definitions of the kitsch. Thus, the use of this element in art in a comprehensive and exaggerated way can be considered as a combination of kitsch and art in order to eliminate boundaries between them. Discriminatory and status-making modernist attitudes defined kitsch as a trivial, emotional, stereotyped and imitative art having no creativity. From their point of view, kitsch was located at the lowest level of the culture and art hierarchy.
The word kitsch was first used in the nineteenth century to refer to inexpensive pictures sold as souvenirs to tourists. One frequently suggested etymological origin for the term is the German verb verkitschen, meaning to make cheaply. Thus, from its earliest usage, kitsch was linked with a cheap form of art. kitsch is a modern phenomenon. The authors who focus on the sociological and sociocultural aspects of the phenomenon emphasize that the proper conditions for both the consumption and the production of kitsch did not exist prior to the modern era. They invoke factors like the emergence of the middle class, urbanization and the influx of peasant populations to the towns, the decline of aristocracy, the disintegration of folk art and folk culture, increased literacy among the proletariat, more time for leisure, mass production, and technological progress, as preconditions for kitsch. Authors who are more concerned with its art-historical, stylistic, and aesthetic aspects consider kitsch to be an offspring of the Romantic Movement. The discourse on kitsch has changed tone. The concept, which in the early 20 century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity. The late 20th century scholars gazed at it with critical curiosity.
With the emergence of post-modernist thoughts in the 1960s and 1970s, the boundaries between the high art and the kitsch collapsed. Pop artists used stereotypes in their own works and theoretical discussions changed about kitsch. Post-modernist views assumed absolute freedom for all kinds of attitudes and accepted the possibility of being artistic in every kind of phenomenon with every kind of attitude. Nowadays, artists use kitsch and stereotypes extensively. Among the elements that artists enjoy as the main material of the artistic work, "toys" possess a special place.
 In the twenty first century, toys are presented increasingly in the fine arts. They appear in different forms of sculptures, Installation art, assemblage, images and a combination of these items and, with their various and attractive appearance, present a colorful and joyous world to the addressee. As a result, the artist transmutes the element of kitsch (toy) into an art that deserves aesthetic discussions. When the element of kitsch (toy) is refined by the artist's creativity, in addition to preserving its initial and recognizable identity, it enters other discourses. Here, you face two issues: first, redefinition of kitsch in the twenty first century and change of its surrounding discourses (with an emphasis on Sam Binkley's idea) and second, the artist's use of the element of toy (kitsch) in different forms and its involvement in the new discourses.
Sam Binkley is Professor of Sociology. He offers courses on the sociology of subjectivity, emotions and personal life, with a focus on power relations in contemporary society. His research examines the social production of subjectivity through lifestyle literatures and popular texts. He has undertaken studies of self-help literature and popular psychology, lifestyle movements of the 1970s, multi-cultural discourses, and the corporeal and emotional of neoliberalism, all with an eye toward the fashioning of subjectivity in these contexts.
Binkley not only redefines taste hierarchies but highlights the function and value of kitsch in contemporary life through its ability to re-embed the individual. Sam Binkley in Kitsch as a Repetitive System: A Problem for the Theory of Taste Hierarchy (2000) argues for breaking away from the traditional analyses that categories kitsch as bad taste, aligned with ‘taste habits’, class identities and crass consumerism. he argues that Modern societies, confronting individuals with unprecedented choices in consumer goods, ethical outlooks and life plans, undermine the security of conventional life with the promise of creative freedom – the freedom to choose oneself through one’s own taste expressions – with all the risk and danger this freedom invokes. What Giddens calls ‘ontological security’ is jeopardized as choices multiply and social life is increasingly disembodied, and as routines, recurring practices, comforting cosmologies and world views are shattered. In short, kitsch, which glories in its embeddedness in routines, its faithfulness to conventions, and its rootedness in the modest cadence of daily life, works to re-embed its consumers, to replenish stocks of ontological security, and to shore up a sense of cosmic coherence in an unstable world of challenge, innovation and creativity. Particularly where kitsch makes its most aggressive demands on our aesthetic sensibilities, in its appeals to sentiment, kitsch aims to re-embed its consumers on the ‘deepest’ personal level. Precisely by deflecting the creative, the innovative and the uncertain, kitsch advances the repetitive, the secure and the comfortable, supplying the reassurance that what is to come will resemble what has gone before, that the hazards of innovation and uncertainty are far away, and that one is safe and secure in the routines of an unadventurous genre.
This article is seeking to answer the research questions of how can the entrance of toys to the area of fine arts be defined and justified based on the contemporary approaches to kitsch? And how are toys used to define modern aesthetics by the contemporary art? According to its aim, this study is fundamental, and considering its method, it is descriptive-analytical. Library method has been used to collect the data. Based on the obtained results, some contemporary approaches interpret kitsch as alleviating the sense of ontological insecurity in the world full of abundant choices and risks. The sense of soothing that kitsch inspires and the sense of escaping from the reality and happiness that toys elude have a lot in common. Contemporary childish art places the addressee in an atmosphere that experiences mostly childish peace and happiness rather than philosophical-intellectual explorations. Moreover, the artist de-familiarizes toys (as a kitsch element) by making use of various methods and leads them to enter new discourses. The entrance of the toy element into the field of fine arts was contemporary with the emergence of neo-pop currents in the 1980s and 1990s. However, some other factors can be considered that helped it to stabilize and highlight its presence. It seems that the following interactions have not been ineffective in this respect:
The interaction between "philosophical-sociological discussions of postmodern age about kitsch" and "contemporary art".
The interaction between "Eastern contemporary art influenced by Eastern popular culture, specially Kawaii culture" and "contemporary pop art inheriting neo-pop currents and pop art in the 1960s".
The interaction between "Art Toy" and "contemporary art".

In contemporary art, toys are used in various forms; and visually evoke several discourses. This article considers four general categories for such kind of works:First, an imitation of childish items in much larger dimensions. Second, arrangements, assemblages and accompaniment of mass-produced toys. Third, works in which, merely, aesthetics of mass-produced toys is used and they are presented in one version. Forth, works that are influenced by the movement of "Art Toy". With increasing expansion of presence of toys in contemporary art, it is possible to consider the presence of novel aesthetics that is based on childish settings and use of toys and also bright and cheerful colors in the works.

Faiq Ahmed's installations challenge the practical nature of carpets. His works have displayed rich colors and abstract patterns in the form of shapes that are decomposing and collapsing from the walls of the gallery, and the physical and material nature of these rugs is the main issue of the current research. Therefore, with the aim of identifying the characteristics of Ahmad's installations works, the question was raised, what is the structural phenomenon of space and time in the carpet-based installations of Faiq Ahmed's works? The data collection method of this article was done in a library manner by adopting a qualitative approach and an interpretative phenomenological method, which had a descriptive, analytical nature and a fundamental goal. The results of the research showed that the carpet, as the main medium of installations and its material, i.e., wool, has a dynamic and fluid quality that has created various aesthetic dimensions in relation to the phenomenon of space and time. The structural phenomenon of space in these works interacts with viewers through the coexistence of traditional culture and digital culture, and the artist provides a new reading for the audience; the internal logic of Ahmed's works is determined in relation to the space and a new discourse is formed in the game with the gallery space In all historical periods, carpet has always been considered as a functional object that this aspect has taken precedence over other aspects. Rug art in the postmodern era enters a new phase in which carpet is not only considered as a substrate and introduces new aspects in postmodern art; so that artists, both at home and abroad, have re-read the art of carpet weaving and innovatively expressed its conceptual or deconstructive expression. This study deals with the phenomenological study of the installations works of the Azerbaijani artist Faig Ahmed as one of the most prominent artists of the postmodern period who has created a new quality in the rug as an artistic tool. Among the works of postmodern artists who have considered carpets as works of art, the works of Ahmed have more variety and complexity that recognizing it for artists and researchers, this research can lead to the recognition of unknown qualities and unconventional applications of carpets in the context of postmodern art and provided a new platform in the field of research and application, which on the one hand provides new fields of study for researchers with the main concepts of this research. On the other hand, it will lead the artists of modern art to how to use carpets in the context of postmodern art. In creating his installations, Ahmed studies color, geometry and movement, which is accompanied by manipulating the pattern, color, or expanding the rug-based installations in dimensions and viewing angles and provides a new reading of the phenomenon of space and time of the carpet for the audience. Therefore, the main issue of the present study is to analyze the structural phenomenon of space and time in the compositional works of Faig Ahmed and with the aim of identifying the characteristics of Ahmed installation works, studies the nature of the carpet and the physical and material importance of Ahmed. In this regard, the question arises as to what is the structural phenomenon of space and time in the carpet-based installations of Ahmed's art works, and what space does the wool material in the form of rug media provide for the audience?  Phenomenology, rooted in modern philosophy in the mid-twentieth century, has a special capacity in the analysis of contemporary art, because contemporary art transcends both the historical teleological boundaries of art and cultural boundaries. New technologies along with new forms of communication have slowly penetrated all walks of life. For modern technology, there is no boundary between culture and tradition, and for humans there is still a boundary between culture and tradition. Thus, just as technology has permeated traditional living societies, tradition has permeated technology and expanded its boundaries. Through his installation works, Faiq Ahmed portrays the imposition of digital aesthetics on the traditional patterns of Azerbaijan. By forming a phenomenological reading of Ahmed's works, one can not only engage with the formal aesthetic features of the rugs, but also understand the inner logic of the works that is created throughout his collections through the specific physicality of the installations. Without wool and its unique material physics, the individual installations of Ahmed's carpet collection would not exist as they are, and the viewer would not understand the specific phenomenology of the works as they should. After creating this understanding, carpets can be reinterpreted through symbolism and history to create meaning, because these works exist in layers that go beyond the physical aspect. The works of this artist can be separated into three levels considering the spatial structure: Installation works on the gallery wall space, Installation works with the conflict between the floor space and the gallery wall, and three-dimensional Installation works such as sculptural works and reliefs. The structural phenomenon of space in Ahmed's installations creates a new discourse in the path of the connection between the game and the gallery space. The structural phenomenon of space is used in Ahmed's works by combining and linking past and new patterns in a deconstructive way; he brings the digital language to Azerbaijan's carpet weaving tradition by combining modern and ancient sensibilities to show the power of tradition through the expansion of digital technologies. The coexistence between traditional culture and digital culture is not without tension and sometimes leads to melting. Ahmed's works transform the viewer's experience of carpet installations through the manipulation of color and suspend the properties of wool as the main material of the works. Ahmed's installations also suspend the phenomenon of time so that at the same time is interpreted as meaningful spaces that establish a link between the past and the present. The compositions of the Azerbaijani artist make the way of reading time for the audience out of the linear and simultaneous reading, and the audience will have a reading over time to receive some of the works. Through the manipulations he creates in the texture of the carpet in his installations, Ahmed shows the audience the flexibility and breadth of the woolen thread by creating simple knots, which transforms the nature of the carpet not only in practical dimensions but also in terms of its aesthetic dimensions. It injects a quality of color into the wool and thereby suspends the viewer's belief in the physical reality of the medium; it becomes difficult for the audience to recognize the nature of wool as the main material of the rug, and finally the audience is delayed in understanding the structural phenomenon of space and time.  Finally, in order to consider the installations through the lens of phenomenology, the audience as a viewer can benefit from the inherent beauty in the installation works based on Faiq Ahmed's carpet: soft wool, bright color, their aesthetic evolution in space and time: Recognizing the forms of Ahmed's collections as a space for aesthetic.
 
This article is extracted from the author's research project titled "Reproduction of Carpet Art in the Postmodern Era" in Shahrekord University in 1400.  The author is grateful for the financial support of Shahrekord University's Research Vice-Chancellor to conduct this research.

Qajar era is one of the large periods of Iranian history. In the era an appropriate context was provided for the growth of all kinds of arts, including the art of carpet industry. The Iranian handwoven carpet had had various changes, designs, and motifs. Carpet has imported on cultural and social trends and different eras have seen various designs and weavings. Pictorial carpets were generally from Iranian epic and mythological literature. In this relatively long period, the majority of Iranian arts such as carpet weaving, after a period of stagnation, once again revived and artists in continuing Iranian rich art over the years, especially the Safavid period, began to create artistic works. This works in the context of developments and arising from the circumstances of the society of that era contained features and independent identity that had a significant difference from the era before it. Qajar era is a period in the history of Iran in social, political, and economic areas creating a new era in Iranian history. In the Qajar era, there were royal exhibits and artists made portraits and pictures of their contemporary kings. Kings’ and princes’ picture simulation was a novel art. 19th century can be called the beginning of the picturing movement and its affection for the Iranian carpet. Under these circumstances, pictorial carpets were produced and their installation on walls made an evolution in carpet utilization and the presentation of the picture on carpets was more justifiable. Qajar period faced many ups and downs and good and bad days, incorporating a wide range of changes due to the presence of competent and incompetent kings ruling the vast country of Iran. A major change in this period is the innovation of pictorial rugs, which were used to depict the king of the time Houshang Shah and were replete with national and mythical themes. These rugs were designed and woven not only under the influence of the fixed and custom patterns of their place and time but also based on their artist designers' imagination. The main materials of the imagination are the mental images; through creative mental imagery and in the light of clear experience and intuitive perception, the artist interpretably narrates the concerns of his world such as desires, frustrations, worries, and repressed dreams that have failed to be realized since childhood. All the elements embossed in the body of the rug arises from the previous comprehensive patterns. These previous comprehensive patterns can be analyzed using Gilbert Durand's mythological approach. Gilbert Durand was born in France in 1921 A.D. Durand’s theories are according to the triangle of mythology, anthropology, and the imagination. A large part of Gilbert Durand’s activities is related to the topics such as myth, fantasy, thinking about death, and time control. The imagination plays an important role in this regard. Myth and imagination create the implication of the design and pattern of Houshang Shahi pictorial rugs. The main root of these myths and imagination of the artist-designer is fear of the passage of time and attempts to control it. Durand maintains that all human being’s imaginations are inspired by the concept of time. All imagined forms, therefore, are essentially rooted in time. Gilbert considers the period of fear to be the main source of human imagination throughout the ages and introduces death as the greatest fear of man. Durand provided a complete list of previous structural stimuli and traditional structures as two systems, namely night and day. He believed that every art contains elements of the two poles of dreadful and without dread. He believes that time demonstrates itself by the images; in fact, the structures forming the imaginative figures are entirely based on the “time” and Durand specifies the discourse and image networks of a literary and artistic work by his method. This means that the images are indicative of the fear of the time because there is a “fear of death” behind every fear and a “fear of time” behind every death according to Durand’s theory. The man creates a relationship between the fear and the time and realizes he goes towards the death by the passing of time then fears and consequently, a series of dreadful images (animal figure, dark figure, and fall figure symbols) will appear in his imagination and mind. The presence of elements of imagination, myth, and previous comprehensive patterns in Houshang Shahi rugs has led us to use Durand's theory. In the present research, Durand’s imagination approach has been used to analyze the visual content of the Houshang Shahi pictorial rugs and particularly its diurnal and nocturnal pictorial patterns. In the first part of the article, Durand’s imagination approach has been addressed. In the second part, the visual structure of the carpet has been analyzed based on the mentioned approach. The artist-weaver has successfully created a new space by changing the patterns of Houshang Shahi rugs, overcoming his fears with the images of the night system, and creating a calm and moderate atmosphere on the Houshang Shahi rug by bringing the contrastive positive and negative symbols of the day system. To achieve this goal, the following questions are raised: Are the images of mythical imagination evident in Houshang Shahi rugs? If there are images of mythical imagination in Houshang Shahi rugs, do they have the metaphysical power to create works against destruction, death, and destiny? What approach is the dominant mythical imagination in Houshang Shahi rugs? The present study tries to answer these questions according to Gilbert Durand's night and day system. The required data were collected using the desk research method. To describe and analyze Houshang Shahi rugs, the attempt was made to use valid and first-hand works. This is important because one of the goals is to recognize the mythical concepts of Houshang Shahi rugs' design and pattern using a new approach. The artist-designer and weaver display his/her beliefs as well as the dominant discourse of the time in Houshang Shahi rugs and uses bipolar contrastive (the day system) and interactive (the night system) elements and symbols to achieve this goal. According to the research findings, it can be concluded that the artist weaver has used the constructs explained by Gilbert Durant to illustrate the subject of Houshang Shah to express his ideal theme and immortality with great emphasis in Houshang Shahi rugs. In these rugs, the structure of the weaving artist's imaginative system is more inclined to draw images and symbols of the day system through positive evaluation and the night system; for the weaver, in the face of passion for life, death also has a hidden and permanent presence. And so that, it lapses, each of the symbols was presented in reciprocity to a human potential movement reaction, and it was also said that each of the reactions were due to the human's fear of confronting the time going on.Therefore, it can be said that by simultaneously using all three heroic (daily system), mysterious and hybrid structures, the designer has tried his best to create such a work that reflects the theme of striving for excellence and immortality well.