HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2018 | Volume:23 | Issue:1 |Papers Count:12

Persian painting is one of the most beautiful aspects of Islamic-Iranian culture, qualifying insight, content and structure features that have attracted attention of many artists and scholars, So that in written texts devoted to describing and analyzing it. But paintings and pictures by themselves, have been less imitated and adapted by western painters and artists. As it is not far from reality, to say that it has never been so and significant effect has been made in this context. Perhaps, its reason can be the result of main and important differences between Iranian and western paintings with respect to worldview, formal structure, content and sense, signal discipline, technics and manner and… Claudia Palmarucci, is Contemporary Italian imager that have chosen hypotext of four selected impressions of himself during 2015 and 2016 of Iranian painting Timurid and Safavid (9 and 10 AH). This selection is based on structural features of Persian painting. Therefore it can be said, this is the first time such an obvious adaptation of Persian painting was done by a Western artist. Hence, there is an attempt to study and evaluate how is the connection and interaction between desired texts, and also its resources and references with one of the most important methods and approaches in twentieth century in critics and review of literary and art works. This method which is assigned to relations between texts, is generally called intertextulite. The aim of this study is to explore the relationship between these works and hypotext of Iranian painting. This study seeks to answer this question that how the relationship between these works with self pre-text is explained. And what changes have been occurred in the process of adaptation of these works of Iranian paintings? This research is fundamental and descriptive-analytic and comparative and with Transtexualite method and has been done with the hypertext approach. In every connection between the text under review, relation between previous and next desired texts, with regard to time and inter cultural aspects, these previous and next texts have time duration with each other and cultural origins are different, which result in differences in pictorial properties of them. Moreover, some factors such as differences in cultural – art backgrounds and textures, difference in audience age and – also are factors of intra text which is effective on how these covering relations are accounted which all of these factors are as a whole basis of creating hypertexts by changing and transformation in hypotexts. These changes which are made by structural properties and formal pre-texts, have different shapes of transformation, and finally In summing up the results of this study, it can be said that derivation process works Palmarucci imagery of Iranian paintings, however, due to the structural features of Persian painting has been faced with many variations like Internal changes, cultural change, validity, sign, time, gender, age, …, but had followed a cultural-art transmission.

Through of world changes in eighteenth century, western countries took a new face and their developments accelerated, therefore under banner of science and technology dominated the world and most countries started to contact with west, subsequently. Iran was not excluded from other nations in the new encountering with European countries and west, this meeting caused the creation changes in structure and context of Iranian society which resulted the diversity and unprecedented plurality in culture, context and literature. Hence, condition of society changed to the distinct social and cultural layers. Therefore, in midst of these changes, art and painting was also not excluded from this category and those had evolutions in their identity. Qajar epoch is one of the most evolution of art eras, specially in wall painting which is structured with relationship and benchmarking of art and culture of the west. Intentionally or unintentionally, artists, especially painters of this era came to this new pattern and considered the assimilation of their arts with European samples as solutions for the achievement of the art and modern culture in the body of its western. This article is sought to analyze the impact of the relationship with west on society, culture and art of the Iran in middle of the Qajar reign and to ponder more on this topic by the wall paintings of Sarim Al -Dawla mansion that like a document image which is iterating the state of the society at that time, consider foregoing in two distinct parts, historical and comparative approach. And seek answer to question that changes in Qajar era resulted the emergence of what kind of wall paintings. This article will pay the review of evolutions after reading on socially changed trends in Iranian society at that era and by the image of mansion which is mentioned and will match their results with present image in mansion. According to this discussion, subject-matters on murals were divided to five groups which are as follows: face of woman and minstrelsy ceremony in European style, face of king and European men, image of war and deployment, image of narrative stories and image of heaven and angels. Finally, after reviewing the above, it was found that images in this set are well reflection of changing the situation and form of the Iranian community which can be seen this evolution in travel and history books, generally. These images are representation of impact the confrontation the Iranian tradition with European emerging modernity which causes of evolution in art, culture and society of Iran and showed expressive language from total outward changes of Iran society in midst of the Qajar reign and it can be concluded that they intended to move toward the fulfillment of dream modernity by replacing the European pattern with traditional pattern but for lacking the sufficient capacity in the levels of Iranian society, these changes only were conducted in outward aspects like imagination of new identity in form, transformation of face make up, changes in clothing and imitation of European habits.

Of all The artists working for the studio of Nadir Shah's historian, Mirza Mahdikhan Astarabadi at Isfahan, Ali Ashraf with his considerable output and his numerous pupils is distinguished. His works were widely collected. He is particularly well-known for his lacquer painting, In fact his extant works give first place to elegant flowers and birds. These are perhaps a conventional imitation of heavenly beauty. He is less associated with the illustration of manuscripts, partly because Nadir Shah is not known have been an assiduous patron of them and perhaps because of Ali Ashraf's personal preference for heavier and more static flower and birds for beauty expression. There is however a reason to suppose that he was not capable of working in the style of the court atelier. He is the most important of a group of later safavid painters who practised a highly eclectic style, often with subjects drawn from European painting. Decorative floral composition with were widely use for lacquer works from later safavid period on words, also become a popular genre is 18th century Persian painting. Mirrors belong among the subjects with painting. They became particularly popular in the second half of the 18th century. Mirrors cases were usually small, light, graceful and decorated more often than not with floral motifs or composition adopted from works of European art. The use of European models is especially well demonstrated in Ali Ashraf painting on the mirror case. Ali Ashraf tried to convey every natural future by pictorial means. Flowers were shown at stages of development, from barely open buds to blossoms with half-scattered petals. *This article extracted from my research project known as” achievements of three Persian painters of 18 th century”, in university of Tehran. Qalamdan or pen case is oblong subject with rounded ends and a sliding internal section the portrait of a young European in armour is painted on it, framed by flower and foliate motifs is gold against a black ground. Ali Ashraf one of the most master of Qalamdan painting. The binding of manuscripts provides us with the rare opportunity of proving that bindings existed separately from the manuscripts, which apparently only preserved their original bindings in extremely rare instances. The bindings bears the precise date of manuscripts. The cover and flap are decorated with paintings against a black ground. In the first, and fairy wide, border, Persian verses are written in cartouches in with point. The themes of painting are a banquet, a battle and a fairy tale garden. The inside is of dare red leather and is decorated with cartouches and medallions with foliage against a black blue turquoise and yellow ground. Ali Ashraf is one of the distinguished master in binding. The royal hunt is the principal theme represented on surfaces of painted casket. Hunting had its origin in Pre-Islamic Iran. It was a short reserved for royalty and the elite. Ali Ashraf is one of the painters that in casket painting was distinguished.

Bath has been considered as a social hangout for the Iranian people from old times. Wall-painting is an art which came to its peak during the Safavid period and continued until the Qajar period. During the Qajar period, buildings with wall paintings in different fields have remained, which is in the continuation of the art of Safavid and Zandieh era.This art was applied in public places, which was a good place to show artworks to people and acquaint them with art and culture. Illustrators consider these public buildings to be the right place to present and portray their works. One of these. In the study of wall-painting in the spaces used in the Safavid period, we can name a bath which was built in the era of Shah Abbas Safavi by his order in 1027 AH.This building, which is located in Khorasan, has been studied under the name of Shah Bath, Mehdi Gholibeik bath, and Razavi bath. There are all paintings with the themes of the story of Shahnameh. In the dome section of the changing room of Bath, there is a picture of the Qajar period, which is completely influenced by the space of this period. Drawings are the same pictures of stories which were taken from the artistic style of the Safavid and Qajar eras, in which there are no images and dimensions. Shah's bath paintings in the parts of ceiling and wall of the changing room after the peeling of the walls are 28 layers, 13 of its top layers have been repaired skillfully with the theme of human images.In the first step, our goal is the visual and thematic study of the mentioned paintings in the changing rooms in the bath and then, to study the effective display and expression of social and political elements of that period on this part of the architecture of the bath. Therefore, the article tries to answer the questions on the form and content of paintings of the drawings of the changing room of the bath and analyzed the feedback of the spirit and intellectual atmosphere prevailing on the Qajar period. The research approach was qualitative and the research method was descriptive-analytic; and data collection has been established based on library, documents and field information. Theoretical framework for understanding the political atmosphere of that time used Bourdieu's field theory which was explained with an emphasis on the fields of politics. Findings are presented in two parts: First, paintings of changing room were classified in terms of content in six areas, including religious inscriptions, mythological scenes, literary and romantic stories, folk life of the people, the heroes and the advent of modernism. Secondly, these paintings represent the artists' view of their environment, regarding to the ruling ideology of the period. It shows that despite the arrival of modernity in Iran and the court's affection for it, the artist was dependent on his own cultural motifs, felt a sense of belonging. In fact, bath painting, is a representative of the current state of contemporary society and people.

The murals of “Safe Salam”, created by Abdollah Khan Esfahani)Active in the first half of the 19th century(,who was painter and architecture in Fath Ali Shah Qajar era(1833-1871 A.D),he was commissioned by his patron to draw that painting on the walls of Golestan palace in Tehran,which is one of the numerated distinguished work of Qajar art. That was used as a model and pattern by others painter in the others wall painting palace, several citations with different scale and tools implemented on it. The question is, which obvious and covert values was made to the extend reputation and then a lot of citation of it. It is thought that, this painting was an appropriated responses to the needs of the society’s image of that period of time, that to the extent considered even, after the artist’s and his patron’s death was produced repeatedly. In this murals,118 faces had painted in tricuspid , which It seems the interior view of three sides of a cube. The sides walls of the palace shows the portrait of ambassador, heads of state and captains and the smaller and main wall shows” Fath Ali Shah “ with his twelve sons,All characters faced toward the king And the strain on their own. this palace was destroyed in Pahlavi ‘s era and murals was disappearance, but the picture have left. It thought the secret of success of this painting should be the response to the image’s needs of those days. The difference between this painting with other works is the innovative theme and its exquisite structure .Also “ Abdollah Khan” was different with another artist because in the same time won the “Mema’ar- Bashi”( Architecture) and he own self built the “Negarestan” palace.so, obviously he had better understanding of spatial relationships have three- dimensional spaces and he suspension features of painting and architecture with each other, with this method more immediate impact on the audience is create. He used the exact calculation of the view’s.Angel, height observer, diffused light in the space and scales used, created a work that was unique in the history of Iranian’s painting from every direction. This article with genealogical approach, clarify that for creating a masterpiece art work, in addition it must be considered and observed the technical proficiency and the fundamentals of aesthetics, interaction with political discourse of power and propagation patronage is necessary, for example, in achieving fame across the Iran’s borders, the presence of cultural authorities, including: Sir Gore Ouseley from England and Pierre Ame’dee’ Jaubert from France and the other characters from Ottoman, Yeme Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study isdescriptive- analytical. n, India played an important roles. The basic case study in this research is “The Royal Greeting Ceremony” ( Safe Salam) Murals painted by Abdullah Khan but the statistical society of this study inclusive all of the painting with royal greeting ceremony subject. Temporal and spatial extent of this research is the geography of Iran during Qajar and the methodology of the study is descriptive- analytical.

Iranian architecture and its related decorations including stucco, has maintained its dynamism and continuity from the Parthian and Sassanid periods to the present day. Meanwhile, Sassanid art of plastering and its main motifs is one of the main pillars of Islamic decorative arts and has been able to pave the way for the continuation and evolution of various types of decorative artifacts. Among the most important findings during the excavations of the historical city of Seymareh are its mosque and the adornments of this monument. Due to its history dating back to the end of Umayyad era and the early Abbasid period, as well as the richness of its adornment decorations based on the artifacts of the Sassanid era, this mosque is one of the most important and suitable case examples in terms of studies related to Iranian religious architecture such as stucco adornments. In terms of the decorative arrays, this mosque is very similar to the mosques of Noh Gonbad of Balkh and Samarra. The similarity of the decorative motifs of Seymareh mosque with the stucco patterns of Noh Gonbad and Samarra monuments led to take into account the position and importance of this building in archeological studies of the Islamic era and its decorative arts, in order to introduce more and better the decorations of this mosque. The other objectives of this study are: 1) to present the background of Noh Gonbad Mosque, and Seymareh Mosque 2: to illustrate the influence of Iranian art on the A and B styles of Samarra art from the Abbasid period, based on the case study of Seymareh stucco decorations. The main research questions are: 1) how much the decorations of mosques of Seymareh and Noh Gonbad are similar with each other? 2) how much distinguishable is the presence of decorative motifs of the Seymareh stucco in the stucco patterns found in Samarra (A and B styles)? As in stucco patterns of Noh Gonbad mosque, a move from realism to abstractionism is obvious in Seymareh mosque, too. Therefore, the first Islamic art trends toward abstractionism can be studied in Seymareh mosque. On the other hand, as Seymareh and Noh Gonbad mosques are very similar regarding decorative and composition arrays, background of the decorative patterns of the Noh Gonbad mosque can be searched and traced in Seymareh. Accordingly, in the study of Iranian art in the early Islamic centuries, the mosque of Seymareh is worth studying before the other mosques of early Islam period. Finally, in confirmation of the content of the historical texts regarding the use of Iranian artists in the construction of the Samarra building, the Seymareh Mosque is a clear example of the influence of Iranian art on the stucco art of Samarra. This research has been conducted through descriptive-analytical and comparative methods, based on field and library studies.

The conquest of Iran by the new being Arab muslims prepared the primary context of muslims impressionability from Sassanid art. In result islamic art had been influenced deeply by Sassanid art during centuries. However this impressionability was not equal in all over the islamic territories and current art in Samani and Al-bouye territories is one of its anti types. Samani and Al-bouye which respectively governed eastern and western parts of Iran, were neighbors and contemporary. They were alike somehow because of their governmental construction. Both were affected by Sassanid art but in different ways. The aim of this paper is to study of similarities and differences in impressionability of Samani and Al-Bouye pottery and textiles patterns from Sassanid art. Since the art of Samani and Al-Bouye have major impress on development of the next periods, recognizing artistic qualities of these periods is necessary in studying history of Iranian art. Due to the research objectives we examined the fundamental question that what is the main reason of different impressibility of Samani and Al-Bouye art from Sassanid art? In this regard, the most prominent art of any period, the Samani pottery and Al-Bouye textiles were studied together and with Sassanid art samples by combination method of historical and descriptive method with a comparative approach. Its data is gathered via library source and by referring to books and articles and The observation method has also been used. During the research process, geographical, historical, social, political and cultural characteristics Samani and Al-Bouye governing territory compared with each other and then the artistic aspects of two governments in impressionability of Sassanid art was studied. The results of this paper indicates that one reason of different impressibility of Samani and Al-Bouye art from Sassanid art is intermediaries such as Sogdians and the Abbasids who Sassanid influences were transferred by them. In other words Samani art and especially pottery patterns impressionability from Sogdians- Sassanid art and Al-Bouye art and especially textiles patterns from Arab-Sassanid art is one of the reasons that cause different impressibility of these two era from Sassani art. At the same time, Samanids and Al-Bouye in various fields were trying to gain national legitimacy; thus as Samanids were ruled in areas that Persian language was the original language, supported Persian language to gain national legitimacy. Examples of these efforts is using mythical and epic elements in field of art. So it distanced from imperial dimensions while was satisfied by being influenced by Sassanid seeming elements. Al-bouye ruled over the area that had not been native and the central of government is Baghdad that most of them were Arabs. However Al-bouye started to make lineage in order to gain national legitimacy to introduce themselves as Sassanid's throne inheritable so they started being to influence by imperial elements of Sassanid art in their art works. To say more accurately, Samani's and Al-bouye's efforts in gaining national legitimacy to the masses are the main reason of having differences in their impressionability from Sassanid art.

The impact of European painting on Persian painting from mid Safavid era, is one of the early signs of the Iran’s cultural encountering Modern West. This impact causes a trend in Persian painting even lasting to contemporary era. Studying appearance of this trend can illustrate a mode of Iranian’s cultural encounter with “The Modernity”. It seems that the projection of “space” in this trend, is the focal point of this encountering. In first layer, this essay is to describe the form of impact of Persian painting from modern illustration of space. This description is limited to paintings from 1628 A.D (year of Shah Abbas death) to 1722 A.D (fall of the Capital of Isfahan). In next layer this essay interprets this form of encountering. In other word, this essay quests about “How” and “why” of this encountering respectively in the first and second layers. In First layer formal analysis of rendering the linear perspective in Persian painting showed that this technique was incorrectly and regionally implemented here and main current of Persian painting in this time, has a “synthetic” or “dual” space. However, perspectival space is a unified and universal space, this space set beside the residue of traditional space of Persian miniature painting that is originally based on a fluid perspective and in which “the particular” is dominant. When this setting appeared in Persian painting, learning perspective techniques was possible in Iran, but there was a historical obstacle or more exact, an ontological obstacle for correct and complete learning and using of this technique.In second layer, using hermeneutic phenomenology approach, it is shown that this space is a “conflicting synthesis” which illustrates non-compensable ontologies encountering. It seems that this technique (Linear perspective) was detached from its ontological context and interred into a different context in which wasn’t able to expand and apprehend. Perspectival space is corresponding to the concept of space that Modern physics already is based on. The Science that justly represents the mathematical character of Modern ontology. But this ontological context was not existed in Safavid era. Besides, the Modern conception of space wasn’t existed in philosophy and physics of that era. And generally, the historical ontology didn’t prepare the required context for changing the concept of place as a qualitative concept to the concept of space which is a quantitative one. It can be said that before establishment of mathematical and technical projection of “Being”, this technique was entered into space of Persian paining as a commodity or an instrument. This reception associates with mode of encountering with “the Modernity” in which technological instrument’s receptions is prior to its projection of Modern ontology. Thus “the Non-simultaneity” can be distinguished in rendering of linear perspective in space of Persian paining. This means that liner perspective appeared in the space of Persian painting in Safavid era, the “age” that it didn’t belong to. “The Non-simultaneity” can be seen as the dominant mode of encountering with the Modernity‎ in the history of Persian painting since mid-Safavid era.

Physiognomy is a manner that appears personality and characteristics of individual by observing the physical appearance especially facial features. Notions of the relationship between an individual's outward appearance and inner character are historically ancient, and occasionally appear in early Greek poetry. This paper explores the relationship of Physiognomy and its appearance on the art (painting) and literature. To achieve this purpose, it has been studied the theoretical explanation pseudo-science of Physiognomy, literary writers and artists in this field. Some people recognize Physiognomy as a kind of sciences such as astronomy, just like the astronomers can predict the fate of the world and people from the stars; Physiognomiste can also be achieved personality by the form, mood and facial lines. The pseudo-science of Physiognomy was considered in antiquity by the philosophers and scholars, some have been agreed, some opposed and some critiqued. Many writers have used this pseudo-science in his stories and novels, even some who may not believe it had to rely on their unconscious. This happened in art illustration and painting. The books of Johann Kaspar Lavater or Jiambattista Della Porta and others were illustrated by illustrators to introduce Physiognomy and precise understanding and comparison with the faces of famous characters or type in the general population. Johann Caspar Lavater is known specifically for his celebrated book in Physiognomy, where a person's physical observations and especially his face, allowing to be known the character and his moral feelings. Lavater’s book was much criticized by some philosophers. In antiquity, some philosophers and scientists believed that there are similarities between humans and animals. Painters on an individual basis have illustrated their experiences in this regard that show the knowledge and understanding of their social: Leonardo Davinci, Michel Angelo, Thomas Rowlandson, Wenceslas Hollar, Charles Le Brun, and others. In the Oriental art has also a special place in the art of Physiognomy but was not known at this term. This style can be combined in some cases with Caricature art because the basis of both is on individual psychology and sociology. Therefore Physiognomy is a pseudo-science interdisciplinary that combined science of mathematics, geometry, philosophy, astronomy, astrology and art (notably painting and drawing). In Japan Science of physiognomy has been used to coordinate in describing personal characteristics of the face and illustrated and interpreted in different manuscripts and books. However, in Japan, Physiognomy was not known as a science but it was accepted as an art and has considerable cultural value. Chinese physiognomy or face reading (mianxiang) reaches back at least to the Northern Song period. In Iran, it can be seen in the art of face reading. One of the most important painters of his works who can be placed in this area is Ghias-e-Aldin Mohammad Painter, an artist who lived in Timurid period. His style in painting differs from other conventional Iranian painting methods. His most important feature is drawing characters and unusual creatures with strange faces and figures that include the Devil, beasts of prey, demons, blacks, Sufis and others.

The Bauhaus was one of the most prominent architecture schools and applied arts of Germany from 1919 to 1933. During those years this School located in three German cities, respectively; Weimar, Dessau, and Berlin. The Bauhaus had always shown particular attention to industrial design and was active in the field of furniture design, lighting, packaging, exhibition stands and outdoor advertising. Among all, lighting products had a special position in the Bauhaus School. The specific focus of the Bauhaus on the lighting design mainly was due to the presence of the enthusiastic designers such as László Moholy-Nagy and Marianne Brandt stimulating hard work on this edge. László Moholy-Nagy with his activity in light-space modulator as well as his studies on light and shadow, photogram also his visions on managing metal workshop in the Bauhaus brought an applicable view on this field. Moreover, the works of Marianne Brandt as the most important lighting designer of the Bauhaus that made contracts with industry caused development in the lighting design in the Bauhaus School. Additionally, revenue came from selling mass production in the market made the highest motivation to the Bauhaus focusing the lighting issue. The Bauhaus motto was unifying art and industry. The Bauhaus’s products found their way to the market as they were far more progressed than their time. Even now many reputable companies reproduce and sell the same lighting products. In This article, the core functionality at industrial design will be studied with looking close at the significant lighting products of the Bauhaus. In this regard, some issues connected to the field of lighting in the Bauhaus school such as the lighting position at the Bauhaus, some significant samples of the Bauhaus lighting products, their application in the interior design, the designers of these products and the Bauhaus metal workshop in which many designs shaped into a product, have been studied in detail. Afterward, the three focal tasks, including functions of functional industrial design, aesthetic and symbolic in general have been reviewed in those products. Four samples pendant lamps, floor, desk and walls light have been shown in the table. In functional operation, the Bauhaus lighting products have been designed in accordance with the vision of “form follows function”. In other words, the lightings are just composed of main parts without extra details. Concerning the functions of the aesthetic, form of these products have features such as basic geometric shapes with primary colors also most of the time they are made of metal and glass. Also, these lights follow the rules of visual balance, rhythm, and proportional aspects. With reference to the symbolic function of the Bauhaus lights, they have been distinguished by objective influences of the Constructivism and the De Stijl. In the end, a perceptual map of three mentioned different function has been drowned for all eleven selected samples of the Bauhaus lights. All relevant information and design Specifications of the Bauhaus lightings from last century have been gathered under historical method and the information has been analyzed through descriptive and analytical approach.

Typefaces are very widespread and functional tools. The main function of typeface is to improve the readability and enhance conveyance of information. The emergence of metal and digital font systems has led to a considerable cultural gap between the aesthetics of Persian calligraphy and its modern typeface. However, the undeniable fact is that the even aesthetical aspects of Persian modern typeface should be inspired mainly by the writing identity of Persian culture, so that it can be more aligned with the cognitive needs and aesthetic expectations of Iranian audience. Emotional design creates a more pleasant visual experience of reading through meeting the emotional need of readers. Accordingly, emotional design can be a great asset for Persian typeface as it may provide a positive emotional interaction between the text and audience. Such positive emotion is the result of years of experience of reading and watching Persian texts, all stores in the from of visual schema in the mind of Iranian audience, increasing their willingness to watch Persian typeface and read the content of such materials. A very brief survey of recent aesthetic trends and approaches shows that those which have been more compatible with the cultural and emotional structure of Iranian thought processes have successfully passed the test of time and have been widely accepted by their Iranian audience. Literature and more specifically poetry has always been an indispensable part of Iranian cultural identity and writing has long played a vital role as the major medium for conveying such rich cultural heritage. Naturally writing had to be in accord with the poetic delicacies of its content. Emotional design could be of a huge help to recreate such emotional facets in modern Iranian typeface. From a transactional point of view, the major role of language is to carry meaning and convey information. But from a more interpersonal view, language is supposed to create emotional connection and interaction between people and emotional design can contribute a lot to this undeniable role of language and writing. Emotional design can contribute a lot to this undeniable role of language and writing by creating the most convenient tools for the writer to encode his feeling and emotions and for the reader to get a clear picture of emotional nuances buried in the text. In this paper a brief analysis of reciprocal the role of writing and culture and their effect on design of Persian font is presented. The visual values of Nastealiq and Naskh and their function in the emotional design of Persian typeface are also dealt with. In addition, the mediatory role of typeface in creating an emotional connection between the reader and text is studied in more details. Finally the by investigating the structural similarities of visual elements which recall good emotions in nature and by applying positive structural and emotional values in Nastealiq, it is shown how we may be able to deliver a more pleasant experience of reading Persian contemporary writing in accordance with the writing identity of Iranian readers.

The aim of this study is investigating the effective parameters on designing of products’ appearance based on “human perceptual styles”. To achieve this target, the library study and descriptive scrolling technique were used in order to form a conceptual model, identifying a target groups perceptual styles, making some ideas based on that model and evaluating and validating them.According to the psychological studies, “a perceptual style” is a human's consistent way of responding to and interacting with the world. Researchers defines perceptual styles as the “composite of characteristics include cognitive, affective, and physiological factors that serve as stable indicators of how an individual perceives, interacts with, and responds to the environment, objects and other people”. Perceptual styles refer to a range of competing and contested theories that aim to account for differences in individuals' cognition. These theories propose that all people can be classified according to their “style of perception”; Although the various theories present differing views on how the styles should be defined and categorized, common concept is that individuals differ in how they perceive. Generally, there are four perceptions or four main ways of communicating with the environment in humans: Visual, Auditory, Kinesthetic (movement), & Tactile that is called “perceptual styles”, “perceptual groups” or “perceptual modalities”. In cognitive psychology, perceptual modalities or perceptual groups are combination of attention, perception and memory that forms human moods and actions. Consequently, perceptual modalities are pathways through people receive information based on their perceptions and respond due to the received information. Perception, memory, and sensation connected with the concept of modality.Usually, people use all modalities to receive and learn new information and experiences. However, according to the modality theory, one and in a few cases, two of styles are predominant in human. This dominant style defines the best way for a person to get new information by filtering what is to be captured.In this paper, the concept of “human perceptual styles” or “perceptual modalities” is used to design and evaluating a series of handbags based on target groups’ dominant styles. In the research process, according to the definition of perceptual styles and identifying methods for human dominant perceptual styles, 82 ladies were analyzed by deep interviews and some questionnaires and a number of common specifications were extracted from deep probe of their daily lifestyles and investigating of their applied products. At the next stage of the study, based on extracted data about the products common characteristics in each perceptual style, a number of ideas were designed and evaluated by the same group of ladies in some focused sessions. The results of this study showed that people in regard to their perceptual style, have common interests in selecting their products and it could be used to design products based on their perceptual classification. The findings of this study can be used by leading brands, their designers and design firms in order to plan for and design products diversities and varieties more appropriate and matched to the tastes of users based on their perceptual style.