مجله جلوه هنر
سال شانزدهم شماره 3 (پاییز 1403)

Although human culture is dynamic and changing, it is always deeply influenced by the fundamental structures and constructions of ancient symbolic-semiotic systems, including religions. One of the symbolic-semiotic patterns that can be found in almost all religions and mythological systems of cultures and nations is the story of the beginning of human life on earth, which is called the story of creation (Genesis creation narrative). One of the perspectives of examining the stories of creation is the images and ideas related to each of the two human sexes; In these myths, sometimes the beginning of human life begins with the first father or mother. These images have profoundly affected the symbolic-semiotic system of the relations between the two sexes and in different dimensions, they promote certain ideas about the human value and the characteristics of each of the two sexes and postponing sins and wickedness or victimhood. The narrative of the scriptures about the history of the first couple forms a framework for the knowledge of the two sexes and their relationship with God and each other, which can be referred to as the theology of sexuality. Christianity has been specifically studied from this point of view, and many Christian and non-Christian thinkers have commented on this aspect of its theology. One of the most frequent themes in these studies is the role of Eve in the temptation of Adam and the occurrence of the original sin and their departure from heaven, which has left its mark in the long history of Christian theology, culture, and art. Concerning the status of women in Christianity, if we focus only on the tempting and evil role of Eve in the story of creation, and do not regard the position that Christian theology has given to Eve as the mediator of human salvation, the general image of women in this religion is often drawn as an evil, negative and inferior one. This is where it is necessary to explore the theme of "Mary as the second Eve" which states if Eve was the cause of Adam's departure from heavenly bliss and brought with her death and all the difficulties of worldly life, Mary as the mother of Christ, or "the second Adam", became the mediator of human salvation and eternal life and the establishment of God's kingdom. This theme has had a serious reflection in the works of Christian paintings, and its common image is the presence of the Virgin Mary, who has the tempting serpent of the story of Eve under her feet.The main question of this research is: What relationship has Christian theology established between Mary and Eve and how is this relationship represented in paintings? Addressing this question is necessary because it gives a complete picture of the dignity and position of women in theology and Christian culture and art; An image that is not like Eve of the Old Testament, a secondary and evil character, nor like Mary, holy and savior. This image reflects the two voices of the Christian culture about women and can pave the way for comparative studies with other cultures, including Islam, concerning the place of women.The method of this research is historical-analytical, and the data collection was done by searching the documents and works in the libraries and art collections. This study is divided into two main parts. In the first part, which examines the relationship between Eve and Saint Mary in the sources of the Old Testament and the New Testament, the analysis and description is carried out on a micro level because the problem under study belongs to a large structure in both axes, and there are basic similarities between the composition of the structure and the functions of its elements. In the second part, the existence of a common root in the main sources under study and attributing elements of artistic images to theological themes and concepts cause the carried-our comparison to be classified as a genealogical type. The samples of paintings selected and analyzed in this research were also selected from European art, especially from the works of German and Italian painters during the last six centuries, that is, from the fifteenth to twenty-first centuries. In terms of history, these paintings are examples of the period of the art of these six centuries and belong to famous artists.This research can be considered innovative because, firstly, it is the first Persian research that independently deals with the theme of Maryam being the second Eve, and secondly, despite the research mentioned in the background, which either focuses on the interpretation of this theme in theology or on its manifestation in one or two specific works of art, in the present study in addition to its genealogy in the sacred texts and interpretations, its manifestation in the paintings of the past six centuries is also included.This research comes to the conclusion that: the theme of "Eve as the second Mary " is deeply rooted and repeated both in Christian theology and abundantly reflected in the art of Christian painting. Depicting Mary as the opposite of Eve is the main element of this theme: Eve is tempting, naked, and disobedient, but Mary is a virgin, covered and submissive; With her sin, Eve brings death to the human race, and Mary is the conduit of immortality and life; Eve hears the word of the devil and drags man down, but Mary becomes pregnant with the word of God and brings man to the kingdom. Eve is the concubine of the serpent as a representative of the devil and steals the apple by his deceit, but Maryam tramples the serpent under her feet and is the savior. But this theme, as can be seen in some paintings that take Mary to the time of Eve in the Garden of Eden and next to the forbidden tree and depict Eve as a symbol of temptation and remorselessness, does not portray Eve as negative at all, and at least from the point of view of some analysts of Christian art, there are other elements, especially in some paintings that bring Eve to the time of Mary, who is now a mighty queen and holds her savior child in her arms and has become the mother of the living and in a way has caused the salvation of Eve.The fact that some have claimed that the character of Eve in Christian theology is represented more negatively compared to Jewish theology, is probably derived from her comparison with the incomparable dignity of Mary, thus placing the first Eve in the opposite of the second Eve, who is a noble and all-good character, creates a polarity in which Eve appears completely negative and evil.  If the term "Mother of the Living" was born to describe Maryam (PBUH), the term "Mother of the Dead" should have been born for her opposite, and who could be the bearer of this term better than Eve? Also, according to Christian theology, if the first Eve became Adam's Satan, then Mary was the mother and nurturer of Jesus (PBUH) in the body of the second Eve, as some Christian commentators interpret Jesus as the second Adam. In other words, in a more radical analysis, the first and second Eve of each of these two female characters is in the shadow of the first and second Adam, one of whom provides the cause of the fall, and the other initiates salvation by giving birth. Therefore, the birth of the interpretation of Eve the First and the Second is drawn due to the companionship of each of the women next to the prominent men next to them.

Statement of the problem: 

 The Iranian Naskh calligraphy tradition has long been recognized as an integral part of Persian artistic heritage, embodying both aesthetic precision and cultural significance. One of the most prominent figures in the history of Iranian Naskh is Mirza Ahmad Nirizi, whose exceptional contributions in the 18th century established him as a master calligrapher. His profound influence on the art form was not just limited to his lifetime but extended far beyond, shaping the work of subsequent calligraphers and solidifying his legacy. The impact of his art continues to resonate today, particularly as evidenced by the revival efforts made by modern calligraphy masters such as Abdul Samad Haj Samadi. By delving into the works of great predecessors like Nirizi, Master Samadi has played a crucial role in breathing new life into the art of Naskh calligraphy. Nirizi’s calligraphy is characterized by its meticulous detail, balanced proportions, and an unmistakable elegance that elevated Naskh to new heights. His work, including the calligraphy of the Komeil's Prayer Book, set a benchmark for quality and precision that has inspired generations. However, despite its historic prominence, the art of Naskh experienced a period of decline in contemporary times. It was during this period of decline that Abdul Samad Haj Samadi emerged as a pivotal figure, dedicating his career to the reinvigoration of this art form. Through theoretical studies and extensive practical exercises, Samadi sought to restore the prestige of Naskh by drawing heavily on the techniques and styles established by earlier masters, especially those of NiriziA crucial aspect of calligraphy is the practice of imitation and rehearsal. This practice, which involves closely studying and replicating the works of esteemed predecessors, serves a dual purpose. On the one hand, it helps preserve the historical essence and technical prowess of the art form; on the other hand, it fosters a platform for innovation and adaptation, paving the way for new creative expressions. This process of adaptation is where textual relationships come into play, forming connections between the source text (or artwork) and the new interpretation. The recognition and analysis of these relationships are essential for understanding how calligraphic works are influenced by one another. To systematically examine the connections between original works and their later adaptations, the framework of trans textual studies, as proposed by literary theorist Gérard Genette, provides valuable insights. Genette's concept of trans textuality explores the different types of relationships that can exist among texts, which he categorizes into five main types: intertextuality, paratextuality, metatextuality, hypertextuality, and architextuality. Among these, hypertextuality is particularly relevant when analyzing art, as it focuses on how one text (or artwork) is derived from and influenced by another, encompassing the transformation or imitation of the original.
In the context of Iranian Naskh calligraphy, hypertextuality allows for a structured study of how modern works are informed by their historical counterparts. This research specifically focuses on the Kamil's Prayer Book, an exemplary work that has been calligraphed by both Mirza Ahmad Nirizi and Master Abdul Samad Haj Samadi. The objective is to understand the extent and nature of hypertextual relationships between these two renditions and to identify how Samadi’s adaptation reflects the influence of Nirizi’s original work.

Research Question: 

The primary research question posed in this study is: How and to what extent is hypertextuality evident in the calligraphy of these works?

To address this question, a descriptive-analytical method was employed, involving the collection of data through documentary sources, direct observation, and imaging of sample pages from the two prayer books. The analysis concentrated on specific elements such as the arrangement of text, spacing between lines, the shape and size of letters, punctuation marks, and diacritical movements. The statistical sample for this research consists of two copies of Komiel's Prayer Book. The first copy, penned by Nirizi, is housed in the Malek National Museum, while the second copy, created by Master Samadi, has been published and is available for study. Given that the structure and layout remain consistent throughout both books, the analysis focused on the first pages as representative samples.

The findings of the study reveal that Samadi's rendition of Komiel's Prayer Book exhibits clear evidence of hypertextual influence from Nirizi's original work. This influence is particularly pronounced in the overall composition, the spacing between lines and words, the formation of letter characters, and the placement of punctuation. By examining these aspects, it becomes evident that Samadi did not merely replicate Nirizi’s work but adapted it, making significant modifications to enhance the readability and aesthetic appeal of the text. One of the most striking similarities between the two works is the overall page layout, which reflects Nirizi’s meticulous approach to balancing text and white space. This balance creates a sense of harmony that is essential in classical Naskh calligraphy. Samadi’s version mirrors this balance, demonstrating his adherence to the traditional standards set by Nirizi. However, Samadi introduces subtle changes to the spacing between words and lines, optimizing the layout for contemporary readers. These adjustments indicate a deliberate effort to maintain the integrity of the original while making it more accessible. In terms of letter formation, both calligraphers display exceptional skill in shaping the distinct characters of the Naskh script. Nirizi’s letters are known for their graceful curves and precise proportions, elements that Samadi faithfully incorporates into his work. Yet, Samadi’s approach also reflects a degree of modernization. For example, while maintaining the traditional forms, he may slightly elongate certain letters or adjust the angle of specific strokes to improve visual flow. These modifications contribute to the creation of a new version that retains the essence of the original but stands as an independent piece of art. Punctuation and diacritical marks, which play an important role in the clarity and recitation of religious texts, are also areas where hypertextual relationships are evident. In Nirizi’s work, the punctuation is thoughtfully placed to guide the reader through the prayer, emphasizing key pauses and inflections. Samadi adopts this approach but introduces enhancements that cater to modern reading practices. For instance, he may add or adjust diacritical marks to ensure that the text is both visually appealing and functionally effective for recitation. The analysis also reveals that while Samadi’s work is heavily influenced by Nirizi’s masterpiece, it embodies a sense of innovation that is characteristic of hypertextual adaptation. This adaptation is seen not only in the technical aspects of calligraphy but also in the overall presentation. The changes made by Samadi are not merely cosmetic but are rooted in an understanding of the evolving needs of contemporary audiences. This blend of tradition and modernity exemplifies the dynamic nature of calligraphy as an art form, demonstrating how historical influences can inspire new creations. The concept of hypertextuality, as applied in this study, sheds light on the intricate relationships between historical and contemporary works of art. By tracing the connections between Komeil's Prayer Book by Nirizi and its modern counterpart by Samadi, it becomes clear that calligraphy is not a static art form but one that evolves through the continuous interplay of imitation and innovation. This process underscores the importance of studying historical works not only as artifacts of the past but as living sources of inspiration that continue to shape the future of art.

In conclusion, the research highlights the significant role that hypertextual relationships play in the evolution of Iranian Naskh calligraphy. Through a systematic analysis of the Komeil's Prayer Book by Mirza Ahmad Nirizi and Abdul Samad Haj Samadi, it becomes evident that adaptation and influence are integral to the development of new works. Samadi’s approach exemplifies how a calligrapher can honor the legacy of a master like Nirizi while infusing personal creativity to produce a work that resonates with contemporary audiences. This study not only contributes to a deeper understanding of the historical and modern intersections in calligraphy but also reinforces the value of hypertextual analysis as a tool for appreciating the complexity and continuity of this esteemed art form.

Problem Definition:

Arts and Design entrepreneurship is a promising field of research that involves different disciplines. During the last decade, there has been growing interest in Entrepreneurship in Art and design, in both the scholarly literature and in practice. With this in mind, this research aimed to study different dimensions of entrepreneurial orientation(EO) in Design-based businesses, to discover, understand, and describe the special entrepreneurial characteristics of this type of business. Entrepreneurial orientation (EO) is a key concept when executives are crafting strategies in the hopes of doing something new and exploiting opportunities that other organizations cannot exploit. Based on Lumpkin & Dess studies, EO refers to the processes, practices, and decision-making styles of organizations that act entrepreneurially. Any organization’s level of EO can be understood by examining how it performs relative to five dimensions: (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, (5) and risk-taking. Autonomy refers to whether an individual or team within an organization has the freedom to develop an entrepreneurial idea and then pursue it to completion. In an organization that offers high autonomy, people are offered the independence required to bring a new idea unrestricted by the bonds of corporate bureaucracy. Competitive aggressiveness is the tendency to intensely and directly challenge competitors rather than trying to avoid them. Aggressiveness includes sales & marketing strategies and competitive approaches. Innovativeness is the tendency to pursue creativity and experimentation. Some innovations build on existing skills to create incremental improvements, while more radical innovations require new skills and may make existing skills out of date. Also, innovativeness is aimed at developing new products, services, and processes. Proactiveness is the tendency to anticipate and act on future needs rather than reacting to events after happening. A proactive organization embraces an opportunity-seeking perspective.  Risk-taking refers to the tendency to engage in bold rather than conservative actions.

Research Question:

What are the dimensions of each measure of entrepreneurial orientation, including (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, and (5) risk-taking in design-based businesses?

To achieve the aim of this research, a qualitative study was conducted through an exploratory-descriptive multiple case study using semi-structured in-depth interviews and observation on ten Iranian Design-based businesses. The data gathered based on the Lumpkin and Dess standard five measures for entrepreneurial orientation, which is one of the most cited measures, including (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, and (5) risk-taking, was iteratively and inductively coded and then formed the framework of the results in this study.A design-based business is a business in which design is considered as the core of its value proposition and operates with a design-driven innovation approach in the market. In this type of innovation, innovation in the meaning and design language is more important than innovation in function and technology. The selection of the sample size for the study was done using a judgmental non-random sampling method. In this regard, due to the lack of a comprehensive list of these businesses in the country, first through interviews with design experts and professionals in this field, along with checking websites, accounts on social media, online stores, and works presented in concept stores and design physical stores, a list of design-based businesses was prepared. In the next step, with a survey of experts in this field, the number of ten businesses among the businesses in this list, according to indicators such as (a) focusing on design as the main value creation factor in products, (b) quality of design and production, c) having at least five years of experience, and (d) upward growth trend of the business since its establishment in terms of attracting new customers and sales volume. Also, in addition to these ten successful businesses, interviews were conducted with the owners of three failed design-based businesses. During the research process, with the help of data collection tools including in-depth semi-structured interviews and observation, the owners of these businesses were asked to narrate in detail the process of starting and growing their business from the beginning of its establishment until now, and things such as how to identify and responding to customer and market needs and opportunities, design and production process, business strategies and how to compete with competitors, marketing and sales methods, etc., describe them with case studies in their business. Then, all descriptions and explanations of the owners of these businesses were recorded and documented. After conducting the interviews and recording and documenting them, some visits were made to the design studios and production workshops of these businesses, and at the same time, their websites and social media accounts were studied. In the next stage of the research, the themes in the collected data were extracted and the process of open coding was performed on them, and then based on the five measures of entrepreneurial orientation(EO), axial coding was done and the results of the study were extracted based on them and were analyzed. In all stages of coding, an effort was made to increase the credibility and reliability of coding by multiplying the researchers and reviewing the codes multiple times with the help of professors and entrepreneurship experts.

The results of the study revealed the impact of the design context in the entrepreneurial orientation(EO) dimensions. The outcomes showed that Design-based businesses, due to Design-driven innovation at the product level, have significant potential and capacity for entrepreneurial orientation, but because of dilution of their enterprise-level innovation, in terms of growth and scalability are facing some serious challenges; Also, these businesses are completely risk-taker in product innovation and significantly risk-averse in financial issues, and this risk-aversion has led to the development of more conservative business models for them; So, some strategies and activities in design-based businesses, act as driving forces and others as preventing factors for entrepreneurial orientation in these types of businesses. Focusing more on product-level innovation (innovation), investigating the social and technological trends (proactiveness), registering and exploiting intellectual property rights for design works (competitive aggressiveness), risk aversion (risk taking), and forming an open and flexible work atmosphere aligned with the independence and freedom of employees(autonomy) can be introduced as one of the main characteristics with a positive impact on entrepreneurial orientation in this type of businesses. Also, focusing more on business-level innovation, especially innovation in the business model, pioneering in identifying and exploiting economic opportunities and focusing on profitable markets, taking more risks in scaling the business and accelerating its growth speed identified as existing gaps in EO of design-based businesses; So, focusing on mentioned gaps, resolving them with solutions and their sustainable institutionalization in the business structure could be lead to more effective entrepreneurial orientation in this type of businesses and could improve their market performance. Also, a reflection on the entrepreneurial processes studied in this research showed that the different pieces of the EO puzzle in the design-based businesses are put together from different sources, some of them could be traced back to the childhood of the designers. Therefore, various factors such as individual talents and capabilities, parenting, childhood experiences, formal and informal education, and the designers’ communication and networking skills as well as legal institutions and infrastructures could be effective in EO in this business ecosystem. Also, especially, the development of personal ambidexterity and developing an entrepreneurial character coupled with a designerly character is necessary for the better economic and financial performance of these types of businesses in the market. Entrepreneurial orientation is not an absolute, isolated, and inflexible concept, and all five mentioned EO dimensions are used conditionally in different situations for design-based businesses. The findings of this study at the policy-making level can lead to the setting up of the necessary infrastructures to support this type of business, and at the enterprise level, provide insights for the owners of Design-based businesses to achieve more effectiveness through entrepreneurial behaviors.

What is more significant in photographic exhibitions: the idea and concept, or their form? Prioritizing one over the other can reveal a tendency toward a specific type of art. The aim of this article is not to confirm or deny either approach but to explore the importance and significance of 'being photographed' in the photographic exhibitions held in Tehran during the 2010s. While there are many indicators for studying the photographic characteristics of artworks, such as modernist indicators, the era of conceptualism and post-conceptualism has blurred the boundaries of the medium. Therefore, in this study, alternative indicators were used François Soulages, in his book Esthétique de la Photographie: la Perte et le Reste, introduces the term "photographicity" as the fundamental characteristic of photography. He elaborates on this concept in detail. In this context, photographicity refers to the simultaneous emphasis on the irreversibility of the moment when the photograph is taken (the irreversible) and the endless possibilities of creating different images from the same negative or digital file (the endless). This duality validates photography's ability to integrate with other mediums. By dissolving the boundaries between mediums, this concept serves as a valuable indicator of the importance and significance of "being photographed" in the contemporary era. It is clear that both "the irreversible" and "the endless" are characteristics found in all photographs, but the key question is how Iranian photo-based artists exhibiting in Tehran art galleries during the 2010s utilize these two traits. How do they connect and emphasize "being photographed" in their works? This research is qualitative, employing a descriptive-analytical method. The information for the theoretical framework was gathered through library research, while the photos and data related to the photographic works were sourced from artists' websites, galleries, and, in some cases, the artists' archives Based on François Soulages's perspective, this research first analyzes the use of the irreversibility of the moment captured in a photograph. This appears to be the primary psychological motivation for taking photographs. Generally, most photographs are taken to preserve a moment that is passing, and in many cases, this moment cannot be repeated. In the photographic exhibitions of Tehran during the 2010s, this theme was often focused on capturing objects in decline. These objects were sometimes personal, but at other times they were broader, such as a changing cityscape or decaying national and historical heritage. In some cases, this characteristic was emphasized by manipulating the photographed subjects or by altering the photograph itself. In other instances, photographers intentionally captured images of ruined objects. In such works, the ability of photography to preserve the irreversible moment was often questioned. For example, Mohammad Ghazali, in his series Tehran Inclined to the Right, used expired Polaroid film to capture the streets of Tehran, resulting in damaged photographs that failed to preserve the moment. In other cases, the deterioration of the photographs was less noticeable, as in Mohammad Rezaei Kalantari's Mazandaran Sea series, which depicts family scenes in negatives that were accidentally discovered by the artist. Time had altered and damaged these photographs, which were originally intended to capture moments of decline. This approach to the use of photographic characteristics is increasingly seen as a challenge today. Then the usage of endless possibilities of making different photographs of the same negative or file was analyzed. “the endless” characteristic of the photograph on one hand implies to possibilities of manipulating negatives and photos and on the other hand it implies different modes of presentation and contextualization of photographs to evoke different meanings of them. In the first form, works of this decade can be divided into photomontages, photo manipulation, and alternative prints and in the second form, the physical usage of photographs was found. For example, Mohsen Yazdipour in the “Breath” series has changed the archival photos to create a different meaning and Sahar Mokhtari in the “East Terminal” series has used famous old photos in her staged photographs. differently, Ghazale Hedayat in “The photo essence” series used photo prints and Soaked them in water and then made a print by them. Finally works that link these two characteristics and so photographicity is highlighted in them were investigated. In some photomontages, the irreversibility of the moment or the object was a key element for artists for example Mehdi Moghimnejad in “Verisimilitudes: Found History” used photomontage and made a mourning for Iran’s cultural heritage which is going to fade. Or Babak Kazemi in the “awaiting” series montaged the photos of former residents of the houses who had immigrated on the doors of the houses and connected two capacities or characteristics of photographs. Also some of the alternative printings in this decade concern “the irreversible”. For example, Zeinab Saghafi in the “remains” series depicted the decline of man-made structures against the persistence of nature but instead of saving this moment of the declining process she used man-made emulsion on the paper in a way that all the details have faded and emphasized on the irreversibility of the moment that disabled the photograph of saving that. Sasan Abri also is one of the artists who used alternative printing in this decade. In “The Dormant Yellow” series he wanted to capture old buildings that are on the verge of demolition but he transferred the images taken with an analog camera to small cardboard sheets using thinner and then put them together like a puzzle. Doing this process connects the endless possibilities of making images of a negative with the concern of challenging the ability of photographs to save an irreversible moment especially since the moment is a moment of the process of declining. Study shows in using the characteristic of “endless” possibilities of making different images of the same negative or file most of the time the final image is more similar to paintings than photographs. In conclusion, the study revealed that in 1390’s Iranian photography, photographers sometimes relied on the "irreversibility" characteristic of photography to preserve a meaningful moment, or in a self-destructive manner, to record a moment of deterioration. In other cases, by distorting the photograph's ability to preserve that moment or object, they accentuated the suffering of irreversibility. Photographers often employed outdated or expired photos, damaged film, and similar materials, and sometimes contributed to the deterioration process through manipulation or alternative printing methods. When a negative or digital file is altered to undermine the permanence of an irreversible moment, photographicity is achieved, as the photographer both emphasizes irreversibility and creates a new negative or file. Another way to achieve photographicity in this decade was through the use of old photographs in a contemporary context, which appeared in two forms: photomontage and the physical manipulation of photos in photographic arrangements. These images often evoke a nostalgic atmosphere, mourning the irreversibility of the past. However, in some cases, the physical use of photographs suggested a critical approach. By altering the context or the way old photos were displayed, photographers subverted the preferred reading and introduced new meanings, as seen in Parham Taghioff's “Bookmark series”. The use of old photos in the photographic scene, not only as printed images but also as projected images onto objects, was also evident in two series: Light and Soil by Saba Alizadeh and Demo by Ali Najian and Ramyar Manouchehrzadeh. Unlike other works, these series linked the irreversible and the endless, not by mourning the passage of time or a lost object, but by critiquing the continuous presence of those moments in contemporary life. Therefore, it can be concluded that photographers in the 2010s often achieved photographicity by challenging the irreversible and combining the past with the present. Unlike Soulages, who believed that photographers using this aesthetic approach were primarily concerned with capturing the essence of photography, photographers in 2010s Iran did not solely focus on the essence of photography. Their aesthetic approach encompassed a broader range of perspectives and subjects.

Popular culture is a collection of customs and traditions that have been left from the past and are rooted in the literature and art of society. Cross-cultural reading is a type of reading that explains the pre-texts inside and outside the culture of the text and in addition to discovering the deep layers of meaning, it also examines their possible pre-texts.

The aim of the current research is to examine the artistic texts of the Mashhad School in the era of Ibrahim Mirza Safavid, based on the reading opinions of Michael Riffaterre. Main Questions: The main questions are: 1- In the initial reading of the texts of the Mashhad school of painting, what aspects of the popular culture of the era of Ibrahim Mirza Safavid are evident? 2- In secondary intercultural reading, what are the possible verbal and visual pretexts of these texts?

The research method is comparative-analytical. In the current research, the reading of the body of studies based on the reviewer's opinions is done in two stages. In the primary reading, we will read the visible cultural elements in the phenomenal layer of the text and examine the definite pre-texts, and in the secondary reading, while examining the concepts and dealing with the underlying layers, we will study the possible intra-cultural and extra-cultural visual and verbal pre-texts.

The findings show that many cultural elements including material, behavioral and speech traditions in the paintings of this school are often based on the possible visual pretexts within the culture of Great Khorasan during the era of Ibrahim Mirza Safavid and illustrated in his library. Popular culture of the people of that time as well as some pictorial features of the Mashhad school of painting are evident in addition to the pictorial traditions of the past schools.

David Rokeby is a prominent Canadian artist recognized for his exploration in interactive and computer-based artistic works. Interaction, or interactivity, is an act occurring between two or more entities, phenomena, or processes that mutually affect each other. When two or more things engage in action and reaction, they are said to interact with each other. Interaction in objects can alter their state or influence the manner in which changes occur in objects. Additionally, in phenomena, interaction leads to the emergence of additional parameters that need to be considered in calculations. Interaction refers to the process of communication among individuals, objects, or systems. It is a fundamental aspect of human life and plays a significant role in various fields, including social, technological, and biological aspects. Cultural interaction involves the exchange of beliefs, customs, and traditions between different cultures. Intercultural interaction can lead to cultural dissemination, where elements of one culture spread to another through trade, migration, or communication. Generally, interaction is a multifaceted concept that encompasses a wide range of activities and disciplines. It plays a vital role in human society, technology, science, and the natural world, shaping our ways of communication, learning, and coexistence. Understanding and effectively managing interactions are essential for achieving successful outcomes in various aspects of life and knowledge. Interactive art, also known as art of interaction, is a form of art that engages the spectator in an artistic action to achieve its purpose. Some interactive artistic arrangements allow viewers to intervene in, on, or around them by giving them permission to do so. Others require artists or spectators to become a part of the artistic work in some way. Computer art, or computer-based art, refers to any type of artistic work where computers play a role in its production or display. This artistic work can be an image, sound, animation, or video, a video game, a website, or an algorithm. Many traditional art fields are now integrating with computer technologies. Museums and art venues worldwide, since their inception, have increasingly incorporated digital and interactive art into their productions. This innovative art form continues its rapid growth and evolution through online subcultures and large-scale urban installations. Furthermore, active media audiences do not merely passively receive information; rather, they actively, often unconsciously, participate in understanding the message in their personal and social domains. Interactive computer art enhances the concept of a holistic mental worldview. This is achieved through the artist's technical knowledge of computer programming. Computer software allows the artist to access deeper levels of computer programming and requires them to base specific tasks, such as image manipulation, on a fluid mental model of the holistic and accessible aspects of the entire output of the work. Interactive artists engage in changing the relationship between artists and their media and between artistic works and their audiences. These changes significantly increase the role of the audience in the artistic work and diminish the authority of the author or creator of the work. Interactive artists create relationships rather than finished works of art. The ability to represent relationships in a practical way significantly adds to the expressive palette available to artists. This power is further magnified by the fact that the actors themselves become the reference of the work. The works are somewhat similar to portraits, reflecting the mutual aspects of the actors and transformed to express the artist's intention.In this research, the key aspects of interactive audience engagement with computer-generated art are examined and analyzed from the perspective of David Rokeby. Interactive engagement goes beyond the traditional inclinations of audience interaction, extending into the realm of mutual experiential discourse. The conventional view of artistic interaction and audience perception suggests that the artist leaves their mark on a specific object or message (artwork), and others, including recipients, the general public, and critics, perceive, see, read, interpret, and evaluate it. However, the emerging technological and cultural environment in the new era challenges the distinction between dissemination and reception, creation and interpretation, giving rise to new forms of art. These new forms allow individuals, who are no longer passive recipients in the traditional sense, to experience alternative methods, such as interaction, communication, and co-creation. This shifts the audience from a state of passivity to active participation, transforming their role. Rokeby's perspective on interactive engagement with computer art emphasizes the role of the participant as an active collaborator in the process of creation and meaning-making. He believes that interaction is a vital element in engaging the audience and challenging traditional concepts of passive spectatorship. This aligns closely with the description of the conditions of computer art, where interaction adds elements such as creation, performance, and extended evaluation. David Rokeby has made a significant contribution to the field of interactive computer art, and his viewpoint has been shaped through his artistic exploration and experimentation. Rokeby considers interactive computer art a means to explore the complex interaction between humans, technology, and the environment. This research aims to provide a coherent and patterned analysis of Rokeby's thinking, utilizing it in the conceptualization and execution of contemporary computer arts with an emphasis on interactive engagement with the audience.The research question is formulated as follows: "What are the key components of interactive audience engagement with computer arts from the perspective of David Rokeby?"This theoretical research employs a descriptive-analytical method with a qualitative approach, utilizing library and electronic document resources. The examined samples include several interactive works by David Rokeby.The findings of the research indicate that David Rokeby's perspective on interactive audience engagement with computer art emphasizes active interaction, embodied interaction, dialogues, collaborative creation, reflection, awareness, technological mediation, sensory engagement, feedback, responsiveness, social and ethical consequences, and fluid boundaries. He also views interactive computer art based on active participation, sensory engagement, feedback, reflection, social consequences, and the dissolution of traditional boundaries. Rokeby's works are primarily presented as installations, and this mode of execution provides a desirable and encompassing spatialization, allowing the audience to engage in a participatory and discourse-oriented manner with the creator on the interactive media platform. This facilitation, including active physical and multisensory actions, leads to cognitive reflections and conscious and unconscious perceptual structures in the audience and ultimately results in the extraction of new concepts. Rokeby considers interactive audience engagement a means to actively involve with computer art. By providing opportunities for interaction with artworks, he encourages participants to become active collaborators rather than passive observers. This interaction allows participants to have a more comprehensive and transformative experience and create a deeper connection with the artistic work. He also emphasizes the importance of active participation in interactive computer art, believing that the audience should not be merely passive spectators but active participants who engage with the artwork through their actions and reactions. Through active engagement, participants become co-creators and shape the outcome and meaning of the artwork. Continuing with the analysis of David Rokeby's perspective on interactive audience engagement with computer art, it is crucial to delve into specific elements that he highlights as integral to this form of interaction. Rokeby places a significant emphasis on the role of interaction in fostering a collaborative and participatory approach. He contends that interaction is not merely a one-way process where the artist imparts their vision onto the audience; instead, it becomes a dynamic interplay between the artist and the participant. This dynamic involvement of the audience in the creation and interpretation of the artwork challenges traditional notions of passive spectatorship. Furthermore, Rokeby underscores the importance of sensory engagement in interactive computer art. By incorporating elements that appeal to multiple senses, such as touch, sight, and sound, the artwork becomes a holistic and immersive experience. This multisensory engagement goes beyond the visual appreciation of traditional art forms, adding a layer of physical and visceral interaction. Feedback and responsiveness are additional key components highlighted by Rokeby. The interactive nature of computer-generated art allows for real-time responses to user input. This immediate feedback loop transforms the viewing experience into a dialogue between the audience and the artwork. The artwork, in turn, adapts and responds to the participant's actions, creating a unique and evolving encounter. Rokeby's perspective also extends to the social and ethical consequences of interactive engagement. As technology becomes an intermediary in the artistic experience, questions of ethics and societal impact come to the forefront. The blurring of boundaries between creator and audience, as well as the dissolution of traditional norms, prompts a reevaluation of the social implications of interactive computer art. The notion of fluid boundaries is a recurring theme in Rokeby's perspective. Traditional distinctions between the physical and virtual, the creator and the audience, and even between different art forms, become less rigid. This fluidity allows for a more expansive and inclusive artistic experience, where participants actively contribute to the creation of meaning. In conclusion, David Rokeby's viewpoint on interactive audience engagement with computer art transcends the traditional paradigm of artistic creation and spectatorship. Through his emphasis on active participation, sensory engagement, feedback, and the consideration of social and ethical consequences, Rokeby positions interactive computer art as a transformative and collaborative experience. By challenging conventional boundaries and fostering dynamic interactions, Rokeby's work contributes significantly to the evolving landscape of contemporary art, where the audience becomes an active participant, co-creating meaning and shaping the artistic discourse.

Samani pottery, which is attributed to the 3rd and 4th centuries of Hijri, has many drawing similarities with Sasanian works. The way of painting the faces and parts of the figures, the composition of some significant works, and several other decorative features, according to art history researchers, make Nishapur pottery a logical sequence of Sasanian art in the first centuries of Islam. When the conceptual reading of motifs becomes a function of this statement, the generalizability of the general theory of "the influence of Islamic art from Sasanian art" is distorted by some works. By ignoring the contribution of Sasanian art in the analysis of motifs, some other works are excluded from the circle of theoretical validation. Wilkinson's careful attention to the artistic legacy of pre-Islamic Iran for Samani pottery was gradually approved by the researchers after him, and the research assumptions were based on this theoretical foundation. The main criticism of this range of research was ignoring the centuries-old ideological developments of Muslim and even non-Muslim Iranians, which appeared in the Iranian cultural return movement in the form of a plurality of Islamic sects and superstitions. It can be said that this was a research deviation from the followers of Wilkinson's theory that the Sasanian influence was emphasized as if it made Nishapur pottery a part of the artistic achievement of the Sasanian era in the post-Sasanian era. With the explanation that all figures and animals were considered symbols with Sassanid meanings and thus, a significant part of the works could not be interpreted with this theory. On the other hand, recently, various content readings of the role have been presented by some other researchers who ignored the theory of the influence of Sasanian art and turned to different phenomenological or historical interpretations. A serious criticism of such studies is the non-generalizability of theories to the variety of animal and physical compositions. In such a way that each interpretation can finally cover the works with visual characteristics and composition similar to its case example. In this research gap, establishing a theory that can correct the established theory and cover the themes of all the works is the main goal of the research. The operational plan of the research is as follows: First, various data, including visual, audio, and citation data, are collected and categorized, and after coding, categorization, and extracting central concepts. The importance, necessity, and purpose of this article explain the correction of the above theory. The main question of the research is what theory can be proposed about the painted pottery of Samani Nishapur, which can be more generalizable than the existing theories. The research method is descriptive-historical, and data-based or contextual methods. The modification and establishment of the theory is one of the most challenging research topics. Where the theory works but its generalizability is doubtful, formal and conceptual generalizability can be separated from each other. It is assumed that Wilkinson's theory has a good generalization ability at the form level; However, it does not work comprehensively at the level of content and is not responsive to interpretative variations. All the available samples (online and museum) were listed under the title of "patterned pea pottery". The searchable samples, which are 174 healthy and almost healthy painted pea potteries, are considered to be the product of a common content platform. In explaining the tools and methods of data collection, the relative balance of data in historical subjects seems to be heavier in favor of the left documents and texts. In the selection of the interviewees, in addition to the researchers, attention was paid to the museum-keepers and their oral experiences in direct encounters with the works. Nishapur patterned pottery can be classified into four groups from the visual point of view and the combination of patterns. These categories are: 1- Figures on horseback 2- Standing/sitting figures (single, double, and triple or more) 3- Combinations of animals 4- Mixed human and animal creatures. Conceptual categories and spectrums that have been extracted through the coding of the interviews refer to various aspects of Nishapur's patterned pottery. Some categories have a critical and pathological look at the methods used in the existing research, which is the result of the concerns of the authors and researchers. The only distinguishing categories in terms of content were the possibility of the existence of constellations and astronomy, as well as the discussion of national religious festivals and holidays, which were not mentioned in any of the conversations. The influence of Sassanid art, the influences of East/Sogdian art, popular art, the narrative nature of the role, the factor of religion, constellations and astronomy, and the cultural movement of Iranians; The most important conceptual and content categories are extracted from the research data. The most important question, the answer of which will change the direction of content research is, in what tangible and objective way did the Iranians shape this renaissance? The answer in literature is Shahnameh; in politics, it is a desire for independence from the caliphate, and in the depiction of Nishapur's engraved pottery? Is it possible that there has been a methodological problem? This sameness in the generality of culture, without paying attention to contemporary and effective factors such as religion and new religion, can reach such an interpretation. Nevertheless, it is necessary to answer this question once again: based on the thought system of Iranians who lived three or four centuries after the emigration of the Prophet of Islam, the way to overcome Arab rule and make Iranian rulers dominant again - not necessarily Sassanid - what was it? This return and the so-called cultural, political, social, and all-round "regression" have gone through which reliable path in the real world? It seems that the central phenomenon can be discovered from this question and the answer we give to it, and the basic theory of the research depends on finding its exact answer.In this way, wanting to return - or in other words, wanting to see the future - could only be achieved and become objective through a concrete path, which could not happen except by resorting to apocalyptic beliefs. Because the vindictive literature of the insurgents and the astronomical and astronomical superstitions of that period is largely defined by the apocalypse. It should be known that it is difficult to find logical relationships between the role and its contemporary history, in the situation where the painting avoids any kind of narrative. Perhaps this is the factor that encourages the commentators to do iconological interpretations and mention general reasons and factors such as the cultural movement of Iranians and then go into iconography and find the visual relationships between the text and the role. The set of these risks causes us to overcome such a cognitive error, to draw a theoretical sphere of inevitable or probable contents. It can be said that one of the results of this research was the recording and collection of Nishapur engraved pottery images and the presentation of the formal typology of the works. Collecting the images of all the works - both fake and original - has been since previously, in the existing research - if available - the frequency and specific number of Nishapur engraved pea pottery has not been stated. The numbers mentioned in this treatise are not certain. It should be known that any attempt to achieve a single meaning and content for numerous monologues ultimately requires illogical generalizations and leads to failure. If we look at the shape effects in Nishapur pottery with a critical eye, the avoidance of imitation and uncreative patterning by the Nishapur artist seems clear and certain. No clear narrative in the official literary and historical texts that connects the image and the text of the documents was found in any research work. There is only a series of mostly superstitious sub-narratives, which, according to the author, can be given more attention and thought to reread the motifs. The apocalyptic content of the return of Abu Muslim or any other savior was suggested for motifs in the author's previous articles. That is for works in which birds are most similar to pigeons and horned animals are most similar to goats. This analysis is based on a series of superstitious sub-narratives. The importance of these narratives is due to their connection with astronomical constellations and the issue of the cultural return movement of Iranians, and since it is repeated in at least 3 important texts, it makes the author give it an impact factor again. Of course, there are flaws that damage and weaken the theory, and as a result, it is necessary to promote an idealistic hero without direct reference to historical and concrete figures such as Abu Muslim. The time frame of two centuries considered for the history of the production of works makes it difficult to find the main sources of content. Unless the widespread events during this period are emphasized. In this respect, apocalyptic beliefs have superiority in spatial temporal, and even ethnic scope. The results of the research show that in the variety of topics and conceptual categories of motifs, drawing a theoretical sphere of the concept of the end of time can be the most comprehensive answer to the question of the existence of Neishabur's works in the third and fourth centuries of Hijri.

Epigraphs contain valuable information and can be studied from various perspectives. Epigraphs provide researchers with a wealth of information, to the extent that by observing a fragment of an epigraph, one can often infer the period to which it belongs. Additionally, epigraphs possess various artistic, historical, philosophical, and other facets, with political and social aspects playing a role in their creation. Epigraphy in Islamic Iran has a long history and a distinguished place. Nearly a thousand years have passed since the earliest surviving examples in the Jameh Mosque of Nain, and since then, exemplary pieces have remained from almost every historical period of this land. The tradition of epigraphy has continued to thrive in the contemporary period and plays a significant role throughout the country. Epigraphs can be examined in terms of their function and content. From this perspective, epigraphs are categorized into four main groups: religious epigraphs, whose primary function is in religious sites; instructional or moral epigraphs, which serve an educational purpose; commemorative and construction epigraphs, which convey information and commemorate specific events; and decorative epigraphs, which are primarily intended to adorn structures. These categories can change throughout the cultural and political events of each period, influencing both the choice of text and the style of script, and reflecting the prevailing ideology of that era. By dividing the cultural and political discourse of contemporary Iran into the Pahlavi and Islamic Republic periods, and analyzing the epigraphs of both eras, conclusions can be drawn that demonstrate the dominance of the prevailing discourse in contemporary Iranian epigraphy.This article aims to provide a sociological perspective on the use of epigraphy in Iran over the past hundred years. Initially, due to the broad scope of the selected terms in this study, an explanation of the key terms and the boundaries of their interpretation will be provided, followed by the specific approach of this research. In this study, the term 'epigraphy' refers to the use of traditional calligraphy (which may include any of the common scripts, regardless of their quality) in public buildings (both exterior and interior). Furthermore, epigraphs can also be found not only in architecture but in handicrafts, book decoration, and other fields. Even figuratively, the use of written sculptures and shop signs can be considered within the framework of epigraphy; however, this study focuses solely on the epigraphs found in contemporary buildings in Iran. Among the various forms of writing and calligraphy, epigraphy holds a more public position and its connection with society is more direct. Manuscripts, deeds, and plaques are generally specialized topics that appeal to experts, but epigraphy, due to its presence in society and widespread use, becomes a more general phenomenon. The presence of epigraphy in public spaces makes it visible and, consequently, a tool for the purposes of the commissioner. From this perspective, it is more closely tied to society and its social contexts.On the other hand, since epigraphs contain extensive literary, informational, and other types of content, various approaches can be chosen for their analysis. One approach that can engage with the dynamics of society, governments, and collective thought is the sociological approach. In this theory, the factors influencing the commissioning of these epigraphs, the style of script, the selection of words, the environmental conditions, and social influences are examined. Social discourses may have influenced the commissioning and production processes of epigraphs. As a result, this research will adopt a sociological approach. Among the sociological approaches, the theory of Laclau and Mouffe, derived from the general concepts of Foucault's theories, will be the primary approach of this research. It should be noted that this article will not delve into discussions of formalism and the quality of the script.Accordingly, the main question of this article is as follows: In contemporary epigraphy, which social movements and functions can be observed? What impact has the prevailing ideology had on the course of contemporary epigraphy?
The discourse of contemporary epigraphy, in line with its social function, consists of several sub-discourses:Religious Epigraphs: Religious epigraphs include those that incorporate religious sayings from the Islamic period, centered around the divine word. These sayings may include verses from the Quran, hadiths from religious leaders, selections from prayers, as well as praises, titles of majesty, and the names of religious figures. The function of these types of epigraphs is found in buildings that directly represent religion and faith, such as mosques, Hosseiniyahs, Tekyehs, prayer halls, and similar places.

Instructional or Moral Epigraphs:

 Texts created with the aim of offering advice, education, and moral or philosophical lessons tailored to the specific function of the space form the category of instructional or moral epigraphs. These epigraphs, generally indebted to Persian literature, often used content appropriate to the place to praise good deeds and were frequently found in educational, healthcare, and charitable institutions.

Commemorative Epigraphs:

 These epigraphs, according to their function, primarily serve as messengers, with the main purpose of documenting and narrating an event for remembrance, commemoration, and information dissemination. Epigraphs created for the opening of a place, messages intended for documentation and visibility, and epitaphs and memorials of prominent figures are included in this category. Construction-related epigraphs form a significant part of this category.

Decorative Epigraphs:

 This category of epigraphs overlaps with the previous three categories. Depending on the aesthetic value of an epigraph, it can be included in this category while remaining faithful to one of the aforementioned categories. All calligraphic epigraphs can be included here if they meet the aesthetic criteria of the script and the interaction between the visual elements of the epigraph and its surrounding space. In this category, the type of content is less important; instead, the form and structure of the epigraph and its interaction with the surrounding environment hold value. Certain types of epigraphs can be placed solely in this category, where the primary function is decorative and they appear as quasi-inscriptions.Each of these four categories has experienced variations during both the Pahlavi and Islamic Republic periods, gaining significance according to the dominant discourse of the time. As a summary of the results, it can be stated that the discourse of nationalism during the Pahlavi period, through the use of the Nastaliq script and Persian literature, gave a distinct identity to the commemorative epigraphy of that era. Commemorative and didactic epigraphy were defining features of the Pahlavi period. Conversely, in the Islamic Republic era, the increase in religious buildings led to the unprecedented expansion of religious epigraphy. The use of the Thulth script and the incorporation of Quranic verses, Hadiths, and prayers became the most prominent thematic function of epigraphy during this period. Overall, contemporary epigraphy demonstrates two main streams or discourses, each influenced by the prevailing ideology and impacting the prominence of each type. The discourse of nationalism during the Pahlavi era, with its use of calligraphy and literature, endowed commemorative epigraphy with a unique identity. This commemorative and didactic epigraphy was a distinctive feature of the Pahlavi period. In contrast, the religious epigraphs of the Pahlavi era continued the tradition of the Qajar period without significant innovation. However, during the Islamic Republic era, religious epigraphy expanded significantly, aligning with the prevailing ideological discourse. The use of the Thulth script, along with Quranic verses, Hadiths, and prayers, became predominant during this period. These findings reflect the social discourses of the two ruling eras in contemporary Iran.

Employing digital technology as a medium in the field of art requires artists to create and present their work digitally. The intrinsic characteristic of digital media is its interactivity, and by employing such technologies, it is possible to capture the physical actions of the audience and, based on that, direct the process of forming the artwork and its proper perception. On the other hand, human-centered virtual technologies, such as virtual reality and mixed reality, which have emerged with the aim of making human life easier and enhancing the perception of the surrounding world, have entered the art field. As a result, the world is witnessing installations that showcase new dimensions of their influence on human life and present innovative artistic expressions.This research, focusing on four virtual interactive installations centered on the works of the famous Dutch painter Vincent Van Gogh, investigates the formation of the metaphorical concept of time in these works and conducts a comparative analysis. By examining the features of the installations and comparing their differences and similarities, the study aims to determine how audience engagement in a virtual environment can influence the perception of the passage of time and how the degree of immersion affects this perception. Drawing on Lakoff and Johnson's theory of the conceptual metaphor of time, the research seeks to answer the following questions: How is the conceptual metaphor of the passage of time in virtual reality and mixed reality, centered on Van Gogh's works, formed, and how do these approaches differ or align?Considering that in virtual reality, the audience is fully immersed in the virtual world and their vision is entirely disconnected from the real world, it is assumed that with increased immersion, the conceptual metaphor of the passage of time will be more pronounced and effective compared to mixed reality installations.Based on online search results, it was found that Van Gogh's works are highly popular, making him a leading and famous painter. Numerous up-to-date installations are available that can be used for analysis and study. Among these, two samples of virtual reality installations and two samples of mixed reality installations were selected, for which sufficient information, explanations from the creators, and user feedback were available, all of which were useful for the analysis process. Therefore, the current research is a multiple case study, and the method of sample collection is purposive.The analysis of the research is organized into two parts. In the first part, each installation is examined separately using a descriptive-analytical method to explore the formation of the conceptual metaphor of time. The second part is comparative, analyzing the similarities and differences among these four installations in terms of technology and capabilities, the level of engagement and immersion, and, finally, the formation of the conceptual metaphor of time.Modern technology has opened a new chapter in human life through the use of digital tools and computers, making it possible to enter a virtual world. If we consider a continuous spectrum between the real world and a completely virtual world, all technologies within this spectrum are referred to as "extended reality." In other words, any technology or system that simultaneously incorporates elements of both the real and virtual environments is called extended reality. Extended reality is divided into three major categories: augmented reality, which is closest to the real environment; virtual reality, which is at the other end of the spectrum and closest to the virtual environment; and mixed reality, which lies between the other two.According to the Conceptual Metaphor Theory of Lakoff and Johnson, time, an abstract concept, is perceived metaphorically by mapping it onto an empirical field, usually a place or an object. This means that different time events are experienced as specific objects and places or as a limited area in space. Accordingly, the passage of time is perceived as the relative movement of the observer in relation to these places and objects. This relative movement is categorized as either the movement of time or the movement of the observer. If the observer is fixed and the time events move toward or away from the observer, it is called the movement of time. Conversely, if the time events are perceived as fixed objects and places, and the observer feels as though they are moving toward or away from them, it is called the movement of the observer. Therefore, if the observer is virtually transported to a place that belongs to a time event in the past, their mind can be prompted to pass through time, perceiving the past as either a place or an object.The results show that in the installations Step Inside Van Gogh’s Starry Night and the first part of The Garden in Zundert, there is a movement of the observer towards time events, and time is perceived as a place. In contrast, in the installations Meet Van Gogh in The City, The Bedroom, and the second part of The Garden in Zundert, we observe the movement of time, with time events experienced as objects. In all installations, except for the second part of The Garden in Zundert, the movement of time is directed towards the past, as if the observer is making a reverse journey through time.Additionally, it can be concluded that the high level of immersion in virtual reality installations forces the audience to disconnect more deeply and effectively from the current time and place, resulting in a more vivid experience of time's passage and the perception of past time events. On the other hand, in mixed-reality installations, this level of separation and immersion is lower. Thus, the researchers' hypothesis that the passage of time becomes more perceptible as immersion increases is confirmed.Another goal of this research was to explore the relationship between the two technologies of virtual reality and mixed reality in interactive installations centered on the works of the Dutch painter Vincent Van Gogh. In both cases, the audience moves from a passive state to an active one, with the possibility of interacting with the artwork, which increases engagement. Another similarity is that the presentation of the artwork is not limited to a specific museum, gallery, or location, meaning similar installations can be set up in different places simultaneously. Additionally, the issues of damage to the original artworks or their theft are also avoided.However, there are significant differences between these two technologies. In virtual reality, a completely virtual and three-dimensional world is created by the computer, and both the user and the artwork are entirely within this virtual world. In contrast, mixed reality involves the user being present in the real world, with virtual elements added to it. In virtual reality, the audience's sense of vision is completely disconnected from the real world and is focused solely on the installation, whereas in mixed reality, virtual elements are typically displayed on a two-dimensional screen. Moreover, to be immersed in the virtual world of virtual reality, it is necessary to use a head-mounted display, whereas in mixed reality, such a display is not required, and the use of other tools depends entirely on the design of the installation.Regarding the quality of the audience's engagement with the artwork, the highest level of immersion was observed in virtual reality, which completely separates the audience from the real world and ultimately leads to a strong emotional connection with the artwork. The audience fully feels their presence within Van Gogh's artworks. In mixed reality, however, a medium or low level of immersion is typically experienced, and at lower levels of immersion, an emotional relationship is less likely to be established.Concerning mutual interaction among the audience while using the installation, virtual reality does not offer this possibility due to the head-mounted display placing the user in a 3D world. However, this possibility is present in most mixed reality installations. Although such interaction can create a shared experience among the audience, it may also reduce immersion.

After the invention of photography, followed by the birth of cinema, both arts experienced growth and evolution over less than a century. The techniques and themes guiding cinema emerged. This new art form surpassed other arts in attracting audiences and gradually became the most influential art of its time. Cinema was not only indebted to photography but also to literature, painting, theater, and music. However, the direct connection between photography and cinema through recorded images made the interaction between the two more prominent than with other arts. Additionally, contemporary intellectual movements that coincided with the birth of cinema created unique theoretical discussions, leading to the development of photography and film theories.This study aims to demonstrate the influence of cinema on contemporary photography and to explore why this influence occurs, utilizing theoretical studies conducted in this field through descriptive analysis of written and visual sources, with an emphasis on the views of thinkers such as Walter Benjamin, particularly in his essay The Work of Art in the Age of Mechanical Reproduction, Henri Cartier-Bresson and his theory of The Decisive Moment, as well as more recent theories such as Gilles Deleuze's The Time-Image. Intellectual movements appear to have shifted the influence of cinema on the arts, redirecting it toward cinema's impact on other art forms. At the beginning of the 21st century, following the intellectual developments of the late 20th century, cinema's trace is evident in photography. Examining these developments, factors such as time, stillness, framing, movement, continuity, and sequence reveal that a new visual language has been established in both cinema and photography. By observing the earliest cinematic works following the invention and emergence of cinema, one can discern the role of photography in this new form of artistic expression, both in the technical aspects of cinema's creation and in the themes presented in films.Many filmmakers have created films influenced by individual photographs or collections of photographs by renowned photographers. John Ford, for instance, developed the unique mise-en-scène of his films under the influence of Edward Curtis's collection of American photographs. Filmmakers such as Stanley Kubrick, Nuri Bilge Ceylan, and Abbas Kiarostami are notable for integrating photographic elements into their cinematic works. Conversely, with the evolution of photography tools from analog to digital, the methods of creating photographs have also transformed, resulting in a diverse range of photographic styles that have been significantly affected. These changes evoke connections to Cindy Sherman’s work, as many artists incorporate cinematic concepts as a structural framework and utilize photography as a new medium. Meanwhile, certain works have transcended mere documentation of reality and seem to approach cinema more closely than other media in their search for novel forms of artistic expression, as seen in the works of Hiroshi Sugimoto and Denis Darzacq. This raises the question: Are these influences one-directional, or is there a two-way interaction between cinema and photography? If such an interaction exists, which ideas have shaped and expanded it? Furthermore, in light of cinema's influence on photography, what vision can be anticipated for the future of both media in the 21st century? This research aims to address these questions by drawing on new schools of thought and analyzing contemporary visual arts. Answering these questions will ultimately clarify the main goal of this study, which is to identify the reasons behind the influence of cinema on contemporary photography. This research employs descriptive and analytical methods to examine how cinema and photography interact and how their new forms emerged at the end of the 20th century and the beginning of the 21st century. To achieve this, the study focuses particularly on the works of photographers and cinematographers after 1980, using both written sources from libraries and image resources from various archives. The selection of artists and works has been conducted through non-random, purposeful sampling. In discussing the interaction between photography and cinema, the period from 1980 to the present is considered, focusing on the ideas that have had the greatest impact on significant shared elements such as time, stillness, framing, movement, continuity, and sequence. These elements have contributed to establishing a new form of visual language in both cinema and photography. David Bordwell, a noted cinema author and researcher, asserts that philosophical and structuralist approaches cannot be simultaneously applied in cinema studies. Although this research provides a suitable context for post-structuralist analysis, a philosophical approach is chosen to allow for a broader exploration and the incorporation of various theories. Theories such as Henri Cartier-Bresson's The Decisive Moment, Gilles Deleuze's Time-Image, and Dudley Andrew's collection of contemporary theories are pivotal in understanding the influence of cinema on photography. It is important to note that the roots of this perspective in photography—and subsequently in cinema—are significantly influenced by Walter Benjamin's ideas, particularly following the publication of his essay The Work of Art in the Age of Mechanical Reproduction. In this essay, Benjamin argues that technical reproduction holds value for two main reasons. Firstly, the reproduced work gains independence from the original; he provides the example of photography, where aspects of the original can be captured by the lens in ways that human vision alone cannot achieve, such as through zooming and angle discovery. Secondly, Benjamin notes that a reproduced work can sometimes surpass the original in terms of its condition. In his A Short History of Photography, he highlights how photography can reveal angles that are not apparent when viewing the original piece, exemplified by architectural photography. In What is Cinema? (2010), Dudley Andrew expresses his concern over the transformation brought about by the shift from analog to digital, fearing the loss of the film’s unique characteristics. He suggests that film is no longer merely a modern medium but embodies modernity itself and has become entirely historical. Deleuze made significant contributions to cinema theory through his works Cinema 1 and Cinema 2. Unlike the dominant theories of cinema before 1980—namely, the realist and phenomenological approaches (the latter of which emphasizes subjective perception as a reference model, based on André Bazin’s ideas) and the linguistic approach (which equates images with forms of expression, as seen in Christian Metz's psychological analysis)—Deleuze uncovers the essence of cinema and articulates the unique state in which cinema can reflect on images as independent entities. In Image-Movement, Deleuze examines the relationship between montage and the shot, as well as the connection between cinema and narrative. In Image-Time, he explores the leap in post-war cinema and the break between classical and modern cinema. Deleuze, in his analysis of image movements, emphasizes the equality of movement and light, considering images as perceptions independent of the human gaze. He views perception as conscious only when it retains the useful aspects of objects and conscious perception is linked to action. He observes that classical cinema (including both the Soviet Union and Europe) is structured around the link between perception and action. When this link is broken and perception becomes associated with images of time and thought, the shift from classical to modern cinema occurs, exemplified by Italian Neorealism and the French New Wave. Deleuze uses these points to connect Bergson's philosophy to cinema, asserting that, after this rupture, cinema becomes about "seeing to see" rather than "seeing to act." Time and movement are distinguishing features that separate cinema from photography. However, their use in contemporary photography has transformed its nature, making it distinct from traditional photography. While it might seem that movement and time are characteristics that differentiate cinema and photography, later theories, such as Deleuze's, propose that movement and action no longer define time and space. Deleuze considers time as independent and absolute, not subordinate to movement. He believes that, in cinema, time is layered over scenes and characters, diminishing the significance of recording natural movement. Modern cinema, influenced by these theories, has evolved to perceive time as more than just recorded duration. Although time is often seen as an element uniquely belonging to cinema, photography during this period also developed in a way that treated time as incidental. This notion manifests in photography through stillness, or the suspension of time. Beyond the concept of time, examining other characteristics shaped by cinema—such as framing, storytelling, and narration—helps explain why cinema has influenced contemporary photography.

With the advent of the Islamic religion, the Qur'an penetrated among Muslims, and following the popularity of calligraphy and writing the Qur'an, illumination was placed next to calligraphy. After the spread of Islam from the Arabian Peninsula to other places, including Iran, some ornament and emblems were added to the Qur'an for the correct reading and recitation of the Qur'an by non-Arabic speakers. These ornaments have roots in Sassanid art and only its practical aspect was considered by the illumination artists. In the first centuries of the Islamic period in Iran, book layouts, especially holy books, such as the Holy Qur'an, had very simple illumination and ornament. The first decorations were used to separate the Surahs from each other and emblems for the Verse separator, and then ornament was used to separate other parts of the Qur'an, such as emblems of five verses (Khums), ten verses (Ushr), Hizb emblems and prostrate verses. Ibn-Bawab and Yaqut-Mustasami are two great and influential scribes in the art of calligraphy in the Islamic world and Iran, and even Yaqut's style of calligraphy continued for many years after her death. Abul Hasan Aladdin Ali bin Hilal was born in the fourth century AH. His father was the porter and curtain keeper of Al Boyeh. And on this occasion, he was called Ibn al-Satari and Ibn Bawab. In the year 413 AH during the dominion of Al-Qadir Bellah, he died at an old age. Ibn Bawab was one of the students of Ibn Muqalla who, by following the rules of his master, was able to add beauty and elegance to the balance and geometric harmony of Ibn Muqalla's letters. Another calligrapher is Yaqut Mustasimi, who was in the service of Mustasim Abbasi, who was the last of the Abbasid dominions and was probably born in Abyssinia. He followed Ibn Bawab's calligraphy and style of writing and became like him in writing. But in shaving pen, he changed the method of masters and invented a new method of shaving pen. Yaqut first trained with Abdul Momen and then with Sheikh Habib. Yakut had a long life and according to some sources, his life had exceeded one hundred years. Due to her poor eyesight, she used to write with glasses. He died at the beginning of Sultan Ghazan Khan's reign in 698 A.H. in the city of Baghdad and her grave is located next to the grave of Ahmad Hanbal. Muslim artists created emblems inside the text and on the margins of the pages for the correct recitation of the Qur'an, which made the Qur'an easier and better to recite and understand. Among the illumination emblems of the Verse separator and verses, emblems of Khums, Ushr, and Jouze (Part of the Qur'an) can be mentioned. The opening pages are the gateway to the Qur'an, which artists tried to implement in the best way throughout the ages. There was illumination in the preopening pages, opening pages, emblems, the head of the surah, and closing pages in most of the Qurans, which were also functional in addition to beauty. The color, pattern, and form of the Qur'anic illumination changed over time. These form and appearance changes were caused by the culture and art of the society of the era in which the artist lived. By surveying the illuminations of Ibn Bawab's Qur'an, the features and characteristics of the Seljuk school's Qur'an ornaments can be obtained, and also by studying the Yaqut’s Qur'an and the Yaqut’s style, one can get the stylistic features of calligraphy the Qur'an in the Ilkhanid and Timurid periods. It seems that Qur'anic illuminations have changed in appearance and form in different periods. This research aims to explain the characteristics of form, pattern, and color in the illumination and emblems at the end of the verses in three samples of Ibn Bawab's Qur'an from the Seljuq period, the Yaqut Mustasimi from the Ilkhani period and the Yaqut’s style from the Timurid period. It answers these questions, what ornaments are used for the opening pages, surahs, and emblems of the inner and marginal pages of the Qur'an of Ibn Bawab of the Seljuq period and Yaqut Mustasimi of the Ilkhani period and the Yaqut’s style of the Timurid period? What is the color in the illuminations of the three Qur'ans of Ibn Bawab and Yaqut Mustasimi's and the Yaqut’s style? What are the differences between the charts and motifs used in these three versions? The general aim of the research is to find out the practical and ornament characteristics of the illuminations and emblems in the three versions of the Qur'an of Ibn Bawab and Yaqut and the Yaqut’s style In this research, the necessary information has been collected by descriptive and comparative method and by studying library sources, scientific articles, as well as referring to the website of various museums and obtaining information from them and internet sources. A volume of the Qur'an belonging to the Seljuq period with complete illumination of the opening pages, chapters (head of Sureh), emblems of the end of the verses, etc., and a complete version of the Qur'an with the ornaments of the Ilkhanid period and a Version of the Qur'an from the Timurid period with the same characteristics and the characteristics have been selected and studied. The results show that the Qur'anic illuminating has always been changing and evolving in the preopening pages, opening pages, and emblems in the Seljuk, Ilkhani, and Timurid Qur'ans. In Ibn Bawab's Qur'an in the Seljuq period, there are ornaments and illuminations on the preopening pages and the opening page of the Qur'an, and Surah Al-Fatihah-ul-Kitab and Surah Al-Baqarah are performed on the same page. Tabulation in this version is only on the first page and in the emblems of Khums (five verses) and Ushr (ten verses) on the side margins, the beginnings of these two surahs, and the Other of the head of Sureh in the inner pages of the Qur'an do not have tabulations. The head of the Sourah emblem is present in all heads of Sourahs and it is executed in various forms inspired by the lotus flower. Gilded Khums and Ushr emblems can be seen between the verses. The important point in the emblems of the Verse separator is that three small azure circles are used. Geometric motifs and knotting in the inner margins and the Table lines of geometric motifs are also seen in this version. Golden, brown, and ochre colors are seen more than azure blue. In general, in Ibn Bawab's Qur'an, the opening pages are shown inside the table, all the heads of Surahs have the emblem of surahs with great variety. The form of these emblems is mostly scroll-arabesque motifs and the inner pages do not have tabulation. While in the ornaments of the Qur'an of the Yaqut Mustasimi of the Ilkhanid period, the diversity of the form of the side emblems of the Qur'an has been reduced. The preopening pages are ornamented with two similar pages with the outline of the geometry of motifs, which are decorated with motifs of flowers and leaves inside each of the knots. Gold and black colors are used more than blue-azure in the coloring of the illuminations of the preopening pages, opening pages, and emblems. The pages and the head of the surah on the inside pages do not have illuminations, Sharafeh (Medallion Radiuses), or tabulation. Khums and Usher emblems can be seen on all internal pages. In the Qur'an, the Yaqut’s style of the Timurid period, two conjugate geometric illuminations have been worked on the preopening pages. The central citron and medallion, as a symbol of the sun and the presence of light and sun, is performed before the beginning of the Qur'anic verses. The bright yellow color of the sun is reminiscent of verse 35 of Noor’s Surah "God is the light of ..." in the preopening pages. Sharafeh (Medallion Radiuses) was present in the preopening pages and it was placed in an orderly and simple manner as rays of light in the outer margin of the illuminations. In the head of the surahs of the Qur'an, the Yaqut’s style emblem of the head of the surahs is not seen.The headers of the surahs on the opening pages are fully colored and richly detailed within the tabulations. However, for the headers of the surahs in the remainder of the manuscript, while they are placed within tabulations, they do not feature any background color. Overall, the ornaments and illuminations in the Yaqut style version exhibit cooler tones compared to the Qur'an versions of Ibn Buwab and those from the Ilkhanid era. Although the transformation in the style of illuminations and Qur'anic ornaments can be observed from the Seljuq to the Ilkhanid and Timurid periods and into later eras, the fundamental concept and function of these ornaments have remained consistent.