HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2010 | Volume:- | Issue:41|Papers Count:12

The researches have made different explanations about rhytons, but they mostly accepted that "rhyton is a kind of a drinking vessel often in the form of an animal, having two holes for pouring water." Rhytons were used in Iran from forth millennium B.C. to the end of sasanian period. The animals that are used are of two different kinds: imaginary animals or the real animals. Diversity of the shape and the form of rhytons besides their decorations can briefly show the believes of ancient people. This research is studying the form and the shape of 140 rhytons. The shape of the rhytons can be categorized as follows: The structure: We can categorize the structure of Persian rhytons into three distinct groups: 1-conical or cylindrical rhytons: In the cylindrical ones a kind of cone shaped form is used which has a circle segment. The neck is cylindrical and ended into an animal head. In the conical types the conic part is connected to the animal head in a 90 degree angle. 2-Horned shaped rhytons: they have a long shaft and a conical part resembling much to the horns of the animals. They all ended to the forepart of the body of an animal. In some examples a human body is used. 3-Jug shaped rhytons: These are made in the form of the body of animals. The main part of the body is exaggerated and made the main part of the body. The form and decorations:  All the three groups have different decorations which are made in accordance to the main structure of the rhytons: 1-conical or cylindrical rhytons: In this group the form of goat, lbex, horse and goat is used in the final figure. The animals head is made accurate and close to natural. Sometimes the eyes are bigger than usual. The horns are spiral shaped. They completely convey the dignity and serenity of Persian art. On the conical parts horizontal grooves are used. 2- Horned shaped rhytons: the shaft is emphasized. The most important part is the ending figure. Different types of animals like goat, Ibex, horse, elephant, lion, wildcat and some imaginary types such as winged horses or lions, gryphons and horse men are used. In some cases female or male figures are used. The animal figures show not only the head of the animal but also the fore part of the body. Like the other groups they are made so naturalistic. The horns are "S" shaped and the teeth and tong is obvious. 3-Jug shaped rhytons: this group is so simple in the form and decorations. Like the previous groups great accuracy is used to make the forms. Ordinary animals "in this group are cows, goats, horses and birds."The animals in this group are made as if in a happy life. Simple motifs like triangles, hatchings are horizontal lines are painted on the body.

This article is a survey on motifs and naΪve aesthetic of wall painting from holy mausoleums (boghee or Imamzadeh) in gilan. The provinpe Gilan in north Iran had very holy mausoleums (boghee). Over walls of most these mausoleums had painted religious Icons, figures and inscriptions in naive style. Among the holy mausoleums, Licha mausoleum is quite popular of which walls and columns had painted religious fresco. In this issue intend observe about the causes of cnoice the religious subjects and the usage of naive aesthetic on frescos of Licha Boghee. The Licha mausoleum is the Tumbe of Agha seyed Mohammed Yomni, the son of seventh Imam of shia, Imam Musa ibn Ja'far al-Kazim(AS.). It is located in the village Licha in the zone of Lashtenesha, a city in west Gilan. However over the walls this boghee can man see the similar frescos too, but these unique frescos are one of the most interesting ones among anothers. The subject s of these fresco demonstrate the innate interest of the aboriginal people to religion and Ahle beit (the children of prophet Mohammad like Imam Hosein(AS.). They have been really interested in religious subjects. One of another special point in this research is it that these frescos had created by vow and devotion of locale people. According of the consequence of local research the characteristic of these frescos are their popularity and distance from academic and formal arts. Though the artists of these frescos did not have any academic instructions, they succeeded to occupy a place in Iranian artistic history for themselves. Of course most of themes are religious motifs and they are inspired by people will, while Boghee painting is purely imaginary and the painter does not have any model and what painter draws is merely that which goes in his mind. Observing the present evidences he draws an imaginary picture of, for example, Karbala event, Ashura epic, meraj rasulallah (S.), Resurrection day and some epical pictures which indicate the imagination and enthusiasm of painting. Boghee painting which is called Imaginary painting is an art with its recognized principles. Its main feature is retaining the genuineness of portraits, in a way that even in dealing scenes of karbala epics, the painter makes his outmost effort to paint the faces. This feature is due to the fact that "state" and "motion" are limited in this type of painting. In each fresco the faces convey the subject intended by painter to onlookers. The painter of this style is an earnest narrator who consciously or unconsciously represents the protagonists or antagonists with due emotions towards them. For example in imam Hossein(AS.) and his son Ali Asghar(AS.), Imam's face occupies a large place in the painting and this shows the painter's love of Imam. In a religious fresco the face of enemies and vicious people are as ugly as possible.

Persian manuscripts were produced during the second century until the forth one in Iran. Iranians had experiences about painting in pre-Islamic era, so they played an important role in creating art works such as miniature, illuminated pages in Islamic civilization after the emergence of Islam. In the first centuries of emerging Islam, beautiful transcription, ornamentation of Quran was honors of newly Muslim Iranians and so they invented the method of illumination. Generally book illumination was a supplement to calligraphy and improved the status of this valuable art in Islam. The illumination has had a special position among other art works. Because most of the manuscripts includes author mark and date and some of the final pages of the manuscripts consist of the place of transcript, the name of painter, the name of Diwani galleries, or private workshops. In the next centuries a special kind of accepted miniature was applied besides illumination. At first these decorations were started with limited stainers especially pure gold but from the sixth century on, various colored elements were added as well and then an exact partition was created among the artists related to this art. So, scribes, painters, illuminators, tabulators, gold in layers, builders of azure and other colors cooperated with each other in the field of bibliopegy. The calligrapher was also an illuminator and could be a painter. The gold inlayer was usually called illuminator and while the illuminator did calligraphy, he was called scribe. Concerning the variety of designs and colors of illumination from the emergence to the completion of it in the next centuries, the illumination included especial eras and schools like painting and drawing with privileged features. In this article, appearance and evolution of illumination in Persian bibliopegy have been researched and evaluated in 5 eras including the first centuries of the beginning of Islam, seljukids, Mongolians (and Il-khans), Timurid, Safavid (and Ottoman). To briefly talk about the specification of eras of illumination we can refer to the following cases: 1. The illumination was simple, without decorations and with limited colors in the third and forth centuries. 2. In the fifth and sixth centuries (Seljukids) Qur'an was illuminated gold-sprinkling and gold-spotting. In this era most of the illuminated manuscripts are Qur'an. 3. In the seventh and eighth centuries (Mongolians and Il-khans) new decorated formats like circular medallion and arabesque were appeared. 4. In the eight and ninth centuries (Timurid) the decorated designs have been continued in attractive details with more elegance. 5. The illumination in the tenth and eleventh centuries (Safavid) has reached the high glory. The differences in colors, the more exact distribution of colors and getting the leaves and flora nature-oriented confirm this glory. 6. The illumination in the twelfth and thirteenth centuries (Afshari and Zandi and Qajar) has reached the high glory in terms of elegance, variety and plurality of schools. And in the second half of the thirteenth century this art has been limitedly continued. It has been faded because of the development of printing's industry in Iran.

It is true, it is true, and the arts of book book in Ottoman times drew their initial inspiration from those of Iran. In some of the associated specialities, for example in most Qur’anic illumination and in the illustration of verse romances, they did not progress significantly beyond this heritage. The Timurid Zafarnama and perhaps the most Ilkhanid Chingiznama had chronicled military exploits in a loosely epic style. Ottoman painters, when they revered to this subject matter, approached it in the spirit of a diarist or journalist, and inflated it to a major artistic genre. The process began modestly enough with the versified Suleymannama of C.932 H., but by c.965H. It reached its apogee with Suleymannama of Arifi. Constantly refined through long use in Persian Painting, those conventions were designed to keep the real world at a distance, and to transform nature into art. Sultan Salim I, in 920/1514, defeated the Iranians under the command of the first Safavid ruler, shah Ism’il (d.930/1524) at the battle of Chaldiran. Then he levied a contribution of craftsmen, who were skilled in various facets of the production of fine books. These artist included calligrapher, painter, illuminaters , bookbinders and so on. It is recorded that, in 922-3/1516-17, over seven hundreds such craftsmen and their families were taken to Istanbul. Undoubtedly it was also at this time that many of the illustrated Persian books and muraqas (albums) still in the topkapi saray collections were taken there. Moreover, more artists and manuscripts were taken in intervals during the first half of the 10th/16th century. Registers in the Topkapi Saray archives record that sixteen artists were taken from Tabriz to work in Istanbul after Salim victory in 220/1514. Several of the latter bear the name Tabrizi. On record dated 952/1595 gives a separate lists but only in 964/1557 that Tarkish names occur. Mustaf? Ali Afandi, who gives so much information about Naggashkhanah or studio, states that by the tend of the 10th/16th century Turkish artists were firmly in control and that the heyday of the Persians in the Studios was over. Persian artists to teach and to work on manuscripts in the palace Studios. It might be thought that the prevailing 10th/16th century Persian influence on Turkish miniature painting wound be confined to that of the Tabriz school. The subtle colours, complicated rock patterns, haphazard grouping of people and tents, romanticized landscapes all characteristic of the Persian miniature that have already given way to Ottoman miniature painting. Ottoman artists working in the Sultan’s studios could not fail to have been influenced by such exquisite work as Persian miniatures that were ready to hand. In addition they were thought by Persian artist and worked side by side with them. This article confined Persian influence in the Ottoman miniature painting and artists in ninth to tenth centuries.

Saqakhaneh movement is considered as one of the first modern art movements in the field of visual arts in Iran. This art movement along with a modern attitude towards art has had a Critical look at artistic heritage of Iran. This approach sought to create Iranian modernity within the Iranian tradition. "Saqakhaneh” was a title that Karim Emami [journalists and art critics - twenty-and thirty decades of literary] was given to works of these artists. As its title said; at first was merely a tool for learning and what distinguishes a person or persons making and other things. Many artists of Saqakhaneh movement were educated in Tehran University School of Visual Arts. They were familiar with standard art world. They had studied aesthetics as an academic issue. Artists of this movement have consciously searched its artistic heritage and have offered aesthetic experiences in the new structure of that era. Iranian Ethnic and traditional arts include many features from an aesthetic aspect. These features are close and near with many components of modern art. Many of these features have discovered and revived by Saqakhaneh artists in the text of new works. Many critics have assessed Circumstantiality artistic Saqakhaneh movements as Identity-orientedand, passive and advertising and it has Assign as only imported art and without roots. Usage of visual elements and visual effects of ancient, ethnic and traditional works in Saqakhaneh effects is approved by everyone. But in this regard, the way of attention and looking and applying these effects is very important. Identity and its role in recent decades have a profound impact on art criticism especially it has no role in developing and recognizing the aesthetic standards. So to have recourse to the past heritages is evaluated as an imitative trait and a shallow outlook. This research with criticism method of saqakhaneh movement aesthetic has dominated real values of their art works under influence insufficient and shallow inclined toward to dogmatic Identity integration. Therefore, efforts to introduce these artists to note how persistent artistic to past heritages that is more action, "the discovery and opening" aesthetic ways and measures both The search for aesthetic values of art and the attention he paid to the structures Immortals "Iranian Art". Also Review by "pure form and essence of art forms" of their works that is hided into "aesthetic experience" opinion artists. Artistic values and aesthetic experiences of Saqakhaneh movement have had a great effect on the Iranian process of visual arts in recent years. This effect has been detectable in the samples and species diversity of art and artists works in different districts. Saqakhaneh is The Art which is rooted in the ancient heritage and their patterns so will stay eternal and lasting. Arts like that will live at all ages. It seems that Parviz Tanavoli has played a determining role in this movement, so on this research has more emphasis on his works.

Analysis of Var Rituals in the Miniature of Passage of Siavash through Fire With no doubt, since the miniature formed in any civilization are rooted in their believes and thoughts of that era, on one hand, and decoding the arts coming from those beliefs is not possible unless knowing those beliefs; in the other hand, this paper tries to study one of the most ancient human beliefs; known as Var Ritual and the reflection of this thought in Iranian picturing art. To achieve this goal, the author has tried to decode Var Ritual in both form and contents terms in past period to the present and studies various viewpoints in this tradition in different groups of people and plans to reach the mental and social theme explain a proper and comprehensive features of the reasons of trusts to this tradition for the reader. It has then classified different types of Var and has chosen "Fire Var" due to its more importance and complication and its reflection has been studied in the myth of Siavash's passage through fire to prove his innocence. The author tries to define the inner side of cultural them of fire, follow the trace of this thought in eastern figuration art and by analyzing the a figure that contain the contexts of passing through fire, Var and Ordeal, recognize the deep effect of mythological insight of fire element. Due to the high status of Ferdowsi's Shahnameh as a historical, literary and mythical piece. This myth has been discussed in terms of imaging in Iranian manuscripts and the legend has been studied in Shahnameh of 1332 AD, remained from Ale—Injou period, Shiraz school. By analyzing the structure and conception analysis, the author has tried to achieve the quality of art's encounter with this belief and its artistic visualization in the art pieces. The result is that, although the roots might have been faded in the lapse of history, its realization in painting arts has survived as a picturing tradition. This tradition in terms of quality of encountering the artist with the color and using color meanings in both better transfer of the concept of Var Mythical ritual and in terms of contract with art and form and figure of fire flames could be subjects of contemplation and revision. The result of this research is that, the Iranian artist, due to his Zoroastrian has received much deeper impacts from the mythological perspectives of fire and those themes are clearer and more organized in the Iranian figurative arts. The author has investigated more than 50 miniatures in Var ritual contexts and has proved the authenticity of his theory on the existence of Var imaging tradition. By the figurative critiques of the figure on one hand and analyzing various faces of fire, on the other hand, the author concludes that the Islamic-Iranian painter has been making a clear distinction between different fires such as hell fire, heavenly fire, divine fire and even the sacred-type fire light and this distinction could be clearly seen in the visual arts.

It is obvious, that human react toward its surrounding and environment, and the dominant part of people's behavior is a reaction manner. Human receives the visual element of his environment by the optic sense, and then the mind react to these visual information, so it may have good or bad respond to them, depending on the quality of the visual information received. It is the basis of all environmental arts (urban design). In a big and important city like Tehran, urban arts should come to consideration seriously to be appropriate for an over populated city. Wall paintings play a big part in Tehran's contemporary environmental graphics, and so influence the visual face of city. After the Islamic Revolution or Iran (1357) painting murals in the public view of the city became so popular, and this process lasted for about 3 decades (from 1357 up to now). This considerable popularity of making murals in Tehran attracts the vision of every citizen, so it is important to know the Tehran's citizens idea about the visual face of their city, and especially mural paintings. In order to find out the citizens point of view about Tehran's cotemporary murals a questioner has been arranged and people were asked to answer it. This questioner is so ordered that goes from a total evaluation to more detailed questions. These questions classify the qualitative basics of urban murals, such as; aesthetic, structure, material, meaning, usefulness and the relation of these basics whit environmental aspects, like; architectural structure, visual environment, society, usage of the place, and etc. The more a mural is in harmony whit its environment the more successful it is. On of the most important factors in succession of every social creature is its popularity and usefulness of that creature. In this survey people were asked to evaluate the aspects of wall paintings by selecting one of the weak, middle, good, excellent, choices. This people were selected randomly from every social class as a sample of average society. We also try this questioner by another group of people, this group was academic artists which have specialized knowledge in according fields. The conclusions achieved from the first group show the ideas of average citizens, and the second group analyzed answers present a professional point of view about Tehran's contemporary murals. In this article a total review of achieved results are shown in tow charts , and the tables below each question show the exact percentage of people who agree or disagree that point. In this article the results derived from questioners are analyzed in three categories: the need of mural painting, aesthetic and structure of murals, and concept and meaning of murals. The studies of the answers result from the questioner outline the weak and power points of contemporary Tehran's wall paintings. This survey is mainly based on environmental study and it can help improving the quality of wall painting in order to have a more beautiful city which is the right of every citizen.

China is one of the oldest and most important countries in the world that has had an important role in the process of pottery production. Especially Chinese potters have had an inimitable skill in production of Porcelain wares. Although impress of Chinese pottery on Iran returns to the early periods after Islam but during Timurid and Safavid periods this impress is more greater especially in making and decorating the blue and white wares . In these periods regarding to growth of economic and cultural relations between Iran and china, at first Chinese potteries were imported to Iran and then Iranian potters imitated them and made similar examples. Regarding to this fact that Timurid and especially Safavid periods are periods of coordinating the Chinese method with Iranian style, survey and analogy of differences and similarities of Chinese pottery impress in these periods can play an important role in identifying changes and evolutions of Iranian decorative resources. Unfortunately regardless the importance of the matter, until now has not done any exhaustive research on this matter, hence this research intends to do this survey through some typical examples of porcelains in these periods. According to the findings of research, impress of Chinese pottery on Timurid and Safavid periods was not the same and regardless of exterior similarities it has been very different in many factors of making and decorating. Also diversity of Safavid pottery with influence of china has been more and celadon and Gamboron wars were produced alongside Blue and white wares. Although celadon wars were prevalent in Timurid period but no celadon ware was produced in this period. It seems that Timurid kings prefer to use excellent jade wares instead, that they believe have antitoxic nature. Economic purposes of Safavid Kings have been another factor of diversity of china wares in this period. Probably decorating of a group of these wares completely as China motifs has rooted in these economic purposes. Coincide with Safavid period, china wares had a good market in European countries and with exporting of theses wears, china’s government of Ming acquire great advantage in this way. Accordingly making similar porcelain wares for exporting to other countries was a tempting idea for Safavid kings especially for Shah Abbas the great. Detection of great amount of these porcelains in southern ports of Iran as Siraf and Hormoz with signature of Iranian potters demonstrates this claim. Another different between Timurid and Safavid porcelains is the more transparency and more chromatic in motifs and background of Safavid ones. In the Safavid period many of pottery centers produced porcelains in different parts of Iran as Mashhad, Isfahan, Kerman and Yazd, but in Timurid period just Eastern pottery centers as Mashhad, Neyshabur, Samarkand and probably Varamin produced porcelains. But the most important difference between Timurid and Safavid porcelains is about motifs. Because in Timurid porcelains, background of decoration is reclusive and in Safavid ones is compact. Finally, we must know that the impressibility of china’s pottery has been selective in these periods.

The 20th century is the modern age and the time for the realization of mankind's dreams, mankind who aided by his intellect and science, creates a new world and expands the different limits of his life's aspects with utmost speed. The changed modern world creates artists who in turn create new thoughts and ideas. In the beginning of the second half of the 20th century and in the aftermath of the first and second world wars, modernism falters and the age of doubt begins. The world faces enormous changes in the realms of thought, philosophy, art, politics and society, changes that challenge all the principles of modernism. These challenges result in the formation of new foundations and principles. In this time, minimalist sculpture with an abstract attitude is one of the most important fruits of modern art and rises with new meanings from the body of painting. Minimalism is a style that takes into account material elements and abstains from subjectivity. The artists of this movement have an important role in the formation of new artistic concepts thru the publishing of numerous articles in art periodicals. These artists, under the influence of phenomenology, a branch of philosophy, and with an emphasis of the role of the spectator in lieu of the author, introduce a new way of seeing to the visual arts. Minimalist works of art are devoid of symbolism and through the use of factory products and by emphasizing its' process and procedures, are a representative of the principle of mass production that is a result of the industrial revolution on one hand, and on the other hand remind one of the structured and infinite whole of being, time and space via the repetition of structured units that are a reflection of infinity. The work of Dan Flavin, who is one of the most influential minimalist artists, reaches a unique character through the choice of fluorescent tubes. Flavin used fluorescent tubes, a commercial and industrial overhead light, and after 30 years of using this medium, changed the understanding of the spectator of light in space. With the use of this medium of light, Flavin reminded one of Marcel Duchamps' in the creation of ready mades, a creation that takes the authority of the object from that object. Flavin changes and influences architectural spaces with light installations, the effect of different lights and their reflection in space is not repeatable and foreseeable. He demonstrates his mastery of light and color in the largest scales and he is one of the first artists who created a path for environmental art and his art straddles the border between minimal art and conceptual art. This article introduces the minimalist movement as a vital point in the evolution of art in the 20th century, a movement that is influential in the transition from modernism to post-modernism. In this article we shall consider the theoretical discussions regarding minimalism and we shall analyze the concepts and principles of this movement in the art of Dan Flavin.

Traditional industrial design focuses on a product's functionality and its physical features, while today's design requires different perspectives and approaches for increasingly complex design problems. Therefore, the attention of designers is shifting from mere usability and efficiency to playful, explorative, pleasure and emotion. Over the last decade, new opportunities have emerged for designers to create technological systems that engage nearly every aspect of human experience. Interaction design represents the embedding of information technology into new territories of our everyday life. It is commonly viewed as a recent trend in human-computer-interaction that focused on designing user experiences with technology. It has been defined a shift of focus from what a thing does as we use it to what we do in the acts that define use. In other words, interaction design is a special method of design which want moved attention from the visual presentation of spatial form to the act presentation of temporal behavior. Interaction represents many behavior, communication and affection between human and product, human and system or human and human. Interaction design studies aims to investigate, evaluate and define these behaviors, affections and communications and trying to achieve desired performance and satisfaction for users. This method of design is a perspective of many diverse components like culture, perceptual information, sensation, essence, material, function and feeling. As a matter of fact in interaction design theories, a designer should study and explore much more than just product's function. One of the most branches to be studied in the field of interaction design is perceptual information which includes physical interaction. Hand tool, widely home-used are the range of products that just for their industrial and outlook can't be interacted appropriately by an individual home-user. Therefore, a hand tool drill is used as a case study in this paper to find how different perceptual information can be presented in product parts. This part of our study includes two phases, "user task analysis" and "usability evaluation". In this regard, there are three different and important roles in assisting user operations which used in our study to evaluate user operation tasks: "behavioral information", "conventional information", and "assemblage information". When the subjects performed the main tasks, operational processes were clearly investigated. Ten subjects participated in this study and were asked to perform the tasks and then determined subjective evaluation. A seven-level Likert scale was used to measure the difficulty level of each subtask in the current study. The data from observations were analyzed principally based on the way users operated the hand tool drill and its related parts. All finding and results indicated that drill's industrial aspect from view point of form and colors, and other product specifications such as heavy, loud sound, needed to precise control due to high speed, were most important factors which have affect to interaction between human and product. This paper demonstrates perceptual information approaches to understanding variety aspects of interaction design and incorporating them into design processes. However, research in this domain is still in an exploratory stage.

This paper considers development from social perspective. One of the most important aspects of development in every country which is also one of main goals of developments as well is to create equal opportunity for everyone in the society to reach higher scientific, cultural and social standards. For presence in the society, certain situations and equipments are needed to be developed step by step in every country. One strategic point is equalization and notice to the needs of all the groups of users of the society. This means that the local societies, small cities and rural places from one side and the disabled people from the other side should become the center of attention in every country from a general point of view. Universal design began with the idea that by covering a larger group of users helps the globalization and improvement of people’s life. However, what happened was the design of certain products with high technology for users with special needs. Hence the prime goal of the universal design was not fulfilled. Social design with a new view at the universal design, introduce the group of users as the most important factor in shaping the different products. By entering the area of social design, the disabled people became in the center of attention of the designers because lack of attention to this group of users seemed to cause deep and serious worries. Considering the primary ideology in universal design and its positive view to the society, inclusive design was formed to overcome the deficiencies of the universal design and to attract the attention of the designers to the true needs and demands of the special groups e.g. the disabled people in the society. In fact the disabled group is one of the most important groups of users in the inclusive design. In Iran also, the needs of the disabled people has not been addressed and the city environment has the least facilities for their presence. One of the serious demands of the disabled people to enter the society is the lack of means and equipments of public transport. By expressing how to adapt the Samand car for paraplegic disabled people, we will present the sample of a product that has a full independence level for the presence of the disabled person in the city environment. This car has been distinguished as national car in Iran and this project can be recognized as the sample of social design. In fact, by redesigning the Samand car, this car will be perfectly introduced as the national and social car in Iran. Designing new products based on disabled person’s requirements should teach and spread out at universities and academic institutes in terms of guiding new students to think and design based on social design theory. Then these new designers will try to change the process of designing products based on disabled and people needs. Therefore, we will give all the people an equal chance for evolvement and live in our society.

Texture, one of the important elements in visual Arts, is produced in different ways. Whereas each painting is a multilayered object, any separate layer can have its own distinct texture. Texture can be resulted of inherent nature of artist's depicted materials, such as canvas or support, and it can be, also, produced in the ground or paint layers. In addition, by using of different materials, the artist can make his ideal texture. It is remarkable that some cracks appear on the painting layers throughout the time which make a unique – homogenous texture. Such a texture, demonstrates the antique validity of the painting. Considering the importance of texture and its way of development, therefore, the texture protection should be seen as a basic tenet of art conservation and restoration knowledge. Obviously the protection and transmission of innate meanings of any art objects seriously is dependent on the protection of whole material construction. Any variation in texture equals to alteration in meanings and serious deterioration of painting's integrity. By the way, it is usual to see the simultaneous texture alteration and material construction. Being one of the 20th century artist’s main tasks, making of texture has been developed in different ways. In second half of the last century, when the ready-made materials such as wall paper and fabric became popular and unlimited, expansion of materials variety took place, this visual element gained a new worthy importance. The paper considers the support layer, ground layer, pain layer texture and texture imposed to the object by surface cracks. Moreover, the techniques and methods to make such effects are considered by the authors. It is notable that applying of canvas texture on the support layer and to make a texture by artist discussed in art since the 20th century onward. For instance impressionists use such a technique to make a thick layer of color. However, it is possible for a soft surface to turn to a coarse one by new cracks throughout the time. Artists have used canvas and wood as support for easel painting. Different methods of ground layer preparation, made the artists to produce different textures on ground layer. Pastiglia and gilding resulted in a shining surface in Italian paintings before 1400 AD. In the early 20th century the artists applied absorbent grounds which could produce a fresco surface. In 1920s, materials other than paints were added to painting, to artists with making new textures. Cubist artists applied these materials for the first time in collage technique including wallpaper pieces, fabric, and newspaper and so on. To produce a texture, later, artists applied more materials such as sand, plaster, and so on. In this paper, after classifying different kinds of texture and reviewing the history of easel painting texture and its techniques, the effect of time on different painting layers is discussed. Having a new valuable approach to materials and techniques of some well-known contemporary artists in different periods of time is the main highlight of this essay.