GLORY OF ART ( JELVE-Y-HONAR)
Year:2021 | Volume: | Issue: |Papers Count:7

For about three decades, researchers have been developing Additive Manufacturing Technology, or more generally, 3D printing technology. The technology of additive manufacturing or 3D printing can be considered as a result of the fourth industrial revolution in the early 21st century. The Fourth Industrial Revolution is known via concepts such as artificial intelligence, machine-human connectors, robotic technology and sensors, 3D printing technology, and cyber-physical sys tems, which combine real and virtual technologies to provide autonomy and communication between machines independent of humans. 3D printing is extensively applied in a number of industries, such as aerospace, automotive, medical and, dental components, alternative pieces for electronics, architectural models, and sports equipment. In addition, it is expanding in the fashion indus try. In this technology, firs t, the product is designed using 3D modeling software, then the parts are divided into horizontal layers based on the 3D design in the software. Then the data of the digital file is sent to the printer. After that, the product is made by placing the materials in successive layers on top of each other and each layer is fastened on top of each other with special adhesives or laser beam. This continues until the layers are completed and the final product is made. That is why the technology is called additive manufacturing. Materials used in 3D printing include glass, ceramics, metals, wax, sand, polymers and, resins. However, it is predicted that with the development of science in 3D printing materials, materials made of textile fibers will be introduced. For example, the TamiCare textile company has developed a 3D printing technology that aims to print fabrics using liquid polymers including natural latex, silicone, polyurethane, Teflon, and textile fibers including cotton, Rayon and, Polyamide. To convert a 2D design into a 3D product, 3D Cad software or programs such as Rhino are used. This software provides parametric design tools especially for designers who do not have coding experience. Parametric design tools are more efficient and easier to operate so that multiple changes to a design can be made with a single code. Based on the s tudies, it seems that the capabilities of 3D printing technology in the fashion indus try can help designers to create prototypes, produce the final product, as well as to produce customized products, and create an interactive experience between designers and audiences. The possibilities provided by 3D software to designers lead to more creativity, and designers can easily create what they have in mind by using 3D software. Applying CAD files also allows companies to quickly produce prototypes and create targeted products according to cus tomer needs. In addition, 3D printing can have a huge impact on the supply chain of traditional products such as fas t design process, less production time, reduced number of s tages required to produce the items, possibility of more dis tribution and decentralized production, reduced need for warehousing, packaging, and transportation. These are some of the things in the traditional process of production that can be influenced by technology. 3D printing helps businesses by reducing the amount of unused inventory and reducing capital loss. This technology has also contributed to the goals of sus tainable fashion, such as minimizing was te in printing, recycling materials as well as the use of environmentally friendly materials that will be highly regarded in the future of the indus try. In spite of these advantages, these products also have disadvantages, for example, designing with 3D CAD software, printers and various materials is a complex process that requires the cooperation of interdisciplinary knowledge and skills. In addition, it may be difficult for designers to unders tand the mathematical algorithms needed to produce accurate three-dimensional s tructures. Also, the high price of the final product, the low flexibility of the product in some 3D printing methods, the lack of finesse of the filaments compared to textile yarns can be considered as other disadvantages of the technology. Given that the use of 3D printing in the fashion indus try is an emerging topic for discussion, the research aims to answer the following ques tion: “ How is the 3D printing technology used in the fashion indus try? ” It seems that the capabilities of 3D printing technology can help designers to produce designs and customize the product with different materials and s tructures, and the possibilities that 3D software provides designers, make them more creative. It should also be noted that the environmental characteris tics of the technology have increased the importance of promoting knowledge about this topic. Thus, introducing and explaining 3D printing technology and understanding the advantages and disadvantages of the technology is important and necessary. In this paper, firs t, the 3D printing in the fashion indus try is introduced. Next, the 3D printing processes and the materials used in it are s tudied and examples of 3D printing technologies that are often used in the fashion indus try are introduced, which include five 3D printing Stereolithography methods, Selective Laser Sintering (SLS), Fused Deposition Modelling (FDM), PolyJet, Binder Jetting. Finally, 3D printing features will be examined to realize a part of sus tainable fashion. Since the paper considers the introduction and development of 3D printing technology in the fashion indus try, it can be called developmental research. But in terms of content, it is considered analytical research because after recognizing the different aspects of the subject and collecting the acquired information in different areas of additive manufacturing (3D) and the fashion indus try, the data have been analyzed and explained. In the research, the qualitative analysis method has been used to analyze the data and the method of data collection is documentary (library) and the data collection tool is note-taking sheets. The sampling method and the approximate volume of data are based on the available samples and are probably simple because among, the various methods using 3D printing, the five mos t widely used methods in the fashion indus try are analyzed and based on the results obtained from the data, the sus tainability aspects of 3D printing in fashion have been inves tigated. The s tudy aims to look at the future of the fashion indus try by using Additive Manufacturing Technology (3D printing) and identifying the ability of this technology to achieve the goals and concerns of the fashion indus try in the future. The results of the s tudy show that 3D printing has many benefits including the production of prototypes by designers, creating cus tomized products for consumers, improving the quality of products by designers, reducing the cos t of packaging, s torage, classification and, transportation; time management as well as the environmental properties of the technology, for example minimizing was te in printing, recycling materials and using environmentally friendly materials that will be highly regarded in the future of the indus try. However, there are s till challenges that designers face, i. e. the unavailability of 3D printing raw materials (filaments) to produce their products, the high cos t of the finished product if not combined with textiles; res trictions on mass production of 3D printing products, low flexibility compared to products made with textiles, res trictions on cutting and sewing, lack of variety in the color of the materials, limitation in coloring the materials, facing cutting challenges, removing and polishing supporting s tructures that need to be considered. It is predicted that when new materials are introduced to produce textile fibers, the quality of 3D printing fashion products will also improve and 3D printing materials can function as fabrics. 3D printing can also provide suitable solutions for the waste generated by fast fashion and test more environmentally friendly materials in the future.

The Qajar period is one of the brightes t periods of the art of pen and ink painting. In the Qajar era, we are witnessing the flourishing of calligraphy, and many artis ts began to make and decorate pens. With the cons truction of Qalmadan, a suitable platform was provided for the illus tration of artis ts. The designs used on the pens, like other arts in the Qajar period, were influenced by European art. Painting became popular due to the rise of courtiers, s tatesmen, men, and the rich. The art of calligraphy in the 13th century AH. It reached its peak. Agha Najafali Naghashbashi, one of the leading painters of calligraphy and calligraphy, has been very effective in the flourishing of this art. He is one of the mos t important artists of calligraphy and calligraphy painting in the Qajar period. One of the motifs used in his works. The aim of this research is to s tudy the role of dogs and their impact on European painting and the actual breed of dogs in Agha Najafali's painting. This s tudy is an analysis with a his torical approach. The main ques tion of this research includes the following cases of how the role of dogs in the works of Agha Najafali has been worked on? To what extent is it influenced by European art? To what extent has realism and nature been addressed? The present research method is qualitative and analytical-descriptive. The method of collecting information is documentary (library). In this s tudy, it is assumed that Agha Najafali is influenced by European painting, and he has tried to portray the realis tic role of dogs. The necessity of this research is that in the researches that have been done so far, the role of dogs and its influence on European painting in the art of painting and especially the works of Agha Najafali has not been s tudied. The s tatis tical population of this s tudy is the s tudy of five works of painted pencils on the subject of dogs. In the second half of Qajar, it reaches its peak of prosperity. Painting and engraving in the Qajar period, due to the general popularity, attracts great mas ters. The European travels of the kings of Qajar and his connection with Europe make the courtiers and nobles more familiar with the manifes tations of life and luxury in the Wes t. Therefore, decorative items and equipment are in greater demand. Pencils, mirrors, mirror frames, jewelry boxes, forks and seals for rich men and women bring prosperity to related jobs. Many artis ts are engaged in making and preparing such objects, and the ground is laid for illus trating the faces. Due to the court's support for artis ts in the late Qajar period, artis ts turned to small family workshops. Lucky pens and objects grew significantly because they were made of more common materials. Artis ts had worked a lot in the field of pen painting and lacquer painting before the Qajar period, but it is in the second half of the Qajar period that this art reaches its peak. Lacquer painting and calligraphy in the Qajar period attracted great mas ters due to their popularity. Many artis ts made and made such objects. Agha Najafali is also one of the mos t prolific artis ts of his time. He is one of the creators of great and influential changes in lacquer painting and pen painting. In fact, he brought the methods of the Karim Khan and Nasserite eras closer together. The royal court called him"Naghashbashi" and, according to evidence, he was associated with the royal court. Agha Najaf used the s tyle of Isfahani mas ters and the s tyle of European painters living in Isfahan equally. Agha Najafali had a precise and excellent s tyle in working and polishing Lucky works. An examination of Agha Najafali's works shows that he was mainly engaged in carrying out the orders of the authorities in Isfahan. Agha Najafali's personal and prolific methods introduce him as an influential artis t and s tylis t. In this article, the art of calligraphy in the Qajar period is examined and the role of dogs in the works of Agha Najafali is discussed. Five pens from Agha Najafali's pens, in which the role of the dog is illus trated, are examined. At the end of the s tudy, it was concluded that a variety of hunting dogs, guards, herds and ornaments were painted in the pictures of the pen in ques tion. The motifs used for dogs in pen drawings are influenced by European paintings and are based on the study of the actual breeds of dogs.

Subjects of contemporary art include numerous concerns, including man and his identity, which in the works of each artis t, there is a difference in the way the technique is expressed and performed. After the Renaissance and the great changes of humanism, the creator of a work has become more important than before, and after passing through modernity and reaching pos tmodernity, he has led to the creation of works with different readings. After creation, the work of art acquires an identity independent of the creator, which is initially assimilated with the conditions and identity of the artis t and is born from it and finds its path after birth, but with all these changes, it is an extract from the soul. Has the artis t with him. One of the mos t important factors influencing this phenomenon is the effect of identity on the way of expressing the effect, which can be read in Freudian psychoanalytic approach. Social, human, cultural, and other issues are each separate and interrelated issues. The emergence of a work is directly related to the living and social conditions and other issues of the artis t's life, which can be expressed in its own visual language. The artis t's mental preoccupation plays an important role in creating the work. This can be an unresolved or concluded issue that manifes ts itself at any point in the artis t's life and, in Jung's words, gives way to a dream and enters the real world, sometimes in the form of A work of art appears. In the pos tmodern period and beyond, all the rules that were once res trictive for the artis t are removed and the artis t applies his own unique rules and individual identity. One of the concerns of the contemporary artis t is to create works that reflect the exis tential dimensions of his life. This type of detection implies repression that can be examined in psychoanalytic criteria. Cindy Sherman, a contemporary American artis t and photographer, uses herself as a subject in her work. The purpose of examining Sherman's work is to show a kind of repression, repression, and escape from identity that is rooted in the pas t. Cindy Sherman, a prominent artis t and photographer of the pos tmodern era, is one of the artis ts who has achieved a new language and a special look by transforming her visible identity and combining several branches of art by recording with a camera. The important ques tion is whether Sherman's presence in all of his works is an emphasis on revealing his hidden identity. And whether the works of this artis t can be considered as feedback agains t his own repressed identity? The purpose of asking these ques tions is to show the effects of the artis t's lived experiences and its effects on his works, which can be examined in the form of psychoanalysis. In the present article, by expressing Freud's psychoanalytic theory in the form of repression and displacement, an attempt is made to show the effects of the events of the artis t's life and the direct impact on his works. The writing of the leading article is based on descriptive-analytical research method and the method of collecting information is library type, using reputable internet sites and Cindy Sherman's personal Ins tagram page. Takes. The artis t has created different works over several periods of work. However, their common feature is that the artis t is the subject of all his works, and an important part of the writing also deals with this issue, which can be analyzed within the framework of Freud's divisions. The writing of this research is important because no serious s tudy has been done on this type of self-expression in art, and it also shows the impact of important changes in an artis t's life on his works, so that the contemporary artis t finds a deeper connection between his life and work. Cindy Sherman is one of the pos tmodern artis ts who, without a feminist and biased view, has tried to show her identity throughout her life by transforming it into another form, which this multiplicity in identity and its relevance to Freud's psychoanalytic critique necessitates. Argues that research has not been addressed elsewhere from this perspective. According to Freud's classifications such as repression, repression, displacement, escape, and other factors, one consciously and unconsciously resorts to s trategies such as art to get rid of these factors. Art is a way to get rid of these shortcomings. Cindy Sherman is a pos tmodern and pos t-modern artis t who is one of the mos t prolific artis ts of all time; But in all his works and periods of work there is a common feature, and that is the subject of Sherman himself in the picture frame. A kind of seeing and being seen is a mechanism for defending agains t pas t repressions. In the slips of the tongue that he sometimes writes under his new works, he has reason to be aware of this kind of reaction. He consciously conceals his identity and sees it as a way to protes t the s tatus quo. The early periods of Sherman's work evoke spaces from the pas t that are depicted to find old pleasures, such as the use of dolls in some of his works, and the pursuit of childish pleasures, which in his works are dis torted by The doll's appearance is interrupted. In his works, Sherman seeks an identity that he has pursued throughout his life, and his photographs illus trate this point. A way to escape or a way to boos t happiness in an oppressed childhood. In all of her works, she seeks out a los t identity by playing different roles for different types of men and women, so that perhaps in the form of a role, her confusion may be reduced to some extent, while she has appeared more in the role of women and has no title for her works. Anonymity is also a reason to hide one's true identity. In some of his works, Sherman takes a protes t look at the woman of today who has become an object and is being used more in the present society, a woman who uses every trick to maintain her physical attractiveness and seemingly safe position. Sherman does not claim to be a feminis t, and the issue of being a woman is no different for her than being a human being, but she has challenged it all these years. As a result, Sherman's work can be seen as a response to his repressed identity, while he himself is relatively aware of it and uses the practice of photography to the bes t of his ability to find and conceal his identity. In his pas t life, Sherman has suffered from failures such as growing up in arid and religious families and unsuccessful marriages, which in reading his works have consequences such as hiding in a mask and escaping from circums tances, while also consuming society and playing with contemporary man. Has an objection.

Statement of problem and s tudy questions: Brown and Atkins have defined education as the providing of opportunities for the student's learning. According to Jean Piaget, the famous Swiss psychologis t, creation is the primary goal of education and upbringing, especially by human beings who are creative, discoverer, and able in the performance of novel tasks. The prerequisite for the implementation of this process is purposeful education since childhood. Moreover, the growth of educational centers is one of the goals of education officials worldwide. The actualization of this goal needs the active presence of the s tudents and their interes tedness in s tudying. The creation of such a habit as book-reading from childhood is one of the necessities thereof. Assis ted by various ins truments, including pictorial books, it becomes possible to create proper experiences for this age group. The non-proportion of the books with the children is one problem exis tent on the path of creative growth in the educational environments. Nowadays, children and adolescents’ lack of interes t in s tudying has caused their inclination towards the ancillary media. Getting used to s tudying since childhood employing pictorial books can be promising in this regard. One of the important goals of art production is communication with the audience. It is of great importance to pay attention to the type of expression used by the artis t for conveying his or her message. The graphical design plays an effective role in the success of the artworks. The s tructuring and proper use of the visual regulations would contribute to the facilitation of the transferring of information to the addressees and reduction of the content learning difficulty. Paying attention to the books’ appearances, including the proper selection of their parts, would ins tigate interes ts in the s tudents in s tudying and their educational growth. The creation of the visual diversity and application of uncommon parts would cause the attraction of the addressees and there are different notions by the various classes about these books. The ques tion is that what factors can influence the selection of parts of the pictorial books in Iran from the perspective of the trainers and teachers of the children and adolescents? Furthermore, it has to be seen how important are factors like subject, s tory setting, apparent form, duration of use, number of pages, color, and design. The present field research and scientific-s tatis tical s tudy aim at finding the factors influencing the selection of parts of the children and adolescents’ pictorial books and the degree of their importance and expressing and sugges ting defamiliarization in the book parts according to the notions and ideas of the children and adolescents’ trainers and teachers. The necessity of this research is offering a new solution for the growth of the educational centers, designers, trainers and teachers of the educational centers, education organization’ s managers, and all the individuals involved in the expansion of the culture of book reading. In line with this and after the expressing of the s tudy method, the importance of the audience’ s age conditions will be dealt with for book designing in the section on the “ theoretical foundations” . Then, solutions will be presented regarding how to get the children to habitually read books. In the end, the findings of the authors’ field research about the factors influencing the selection of parts of the children and adolescents’ pictorial books from the perspective of their trainers as well as the inferred results will be offered. Study Method: the present s tudy is applied research in terms of the objective; in regard to the author’ s rate of control on the s tudy variables, the s tudy is non-experimental, descriptive, and causal or retrospective research. The s tudy is to be considered as a sort of case s tudy because the s tudy population of this field research included the trainers and teachers of Iran’ s children and adolescents. After acquiring information from an education organization, one individual was randomly selected from amongs t the elite teachers and trainers of the country in each province. The information-gathering method is library and field research. In addition, note-taking and a Delphi technique-based standardized ques tionnaire were utilized. The acquired data were analyzed in two descriptive and inferential forms. The subs tantial parts used in the descriptive s tatis tics are with the use of tables of frequency and various diagrams. In inferential s tatis tics, use has been made of Kolmogorov-Smirnov tes t and one-sample independent t-tes t as well as Friedman tes t. Conclusion: the use of appropriate tools like a book for the education of children and adolescents would exert a considerable effect on making them interes ted in s tudying. This can cause educational growth in the educational centers and schools. More successful schools are more adored by the parents and students for their progress indices are increased over time. In between, the use of different methods such as informing the families about the importance of book-reading in school sessions as well as in mass media, intra-family activities such as s tudying part of life and group-reading in-home, formation of students’ interes t-based book-reading groups, saddlebag library design, the opening of bookstores and exhibitions in the schools of cities and villages and increase in the hours of s tudying and book-reading are all suggestions for the expansion of this culture. Moreover, the use of new lullabies from the new books, reading of the comic and gamebooks, watching films the books of which have been read by the children, reading loud and free s tudying are amongs t the other solutions in this regard. Different books should be selected for various age groups and the books mus t be selected according to their verbal growth. The gamebooks with simpler images that s timulate the five senses are more appropriate for preschool. On the path of growth, the interes ts in scientific-fictitious books are increased. So, the proportion between the content and appearance of the book with the age condition is of great importance. The selection of the proper book causes interes t or disinteres t in s tudying. The application of the uncommon book formats in proportion to the content helps to attract the audience to s tudy. Consideration of the society of teachers' and trainers’ experiences in the kindergartens and schools causes conscious designing, production, and selection. To find the factors influencing the selection of parts of the children and adolescents’ pictorial books, a field s tudy was carried out according to the perspectives of the s tudy sample volume. The results obtained from the one-sample independent t-test for the prioritization of the indices demons trated that the children’ s trainers consider the subject, s tory setting, apparent form, production cos ts, duration of use, number of pages, color, and design for the selection of parts of the children’ s pictorial books. Duration of use, the number of pages, color, and design are amongs t the factors realized as important for the selection of the adolescents’ book formats. Furthermore, from the perspective of the adolescents’ teachers, the selection of children’ s book parts depends on factors like lightness, subject, s tory setting, apparent form, application, duration of use, number of pages, color, and design. As for the adolescents’ books, factors like subject, application, number of pages, color, and design are taken into account. In the meanwhile, it was concluded using Friedman’ s tes t and rating of the abovementioned indicators that the importance of the factors influencing the attractiveness of the children and adolescents’ books from the perspective of the children’ s and adolescents’ trainers are due to lightness, subject, s tory setting, apparent form, production cos ts, application, duration of use, number of pages, color and design. As for the adolescents’ books, the higher priorities go-to the subject, production cos ts, application, duration of use, number of pages, color, and design.

Velvet is one of the mos t luxurious textiles that has been produced and used in different societies. The exact beginning of the texture of this valuable fabric is not known. However, examples of it have been observed in different civilizations of the world from Eas t and Wes t. In the Ottoman Empire, velvet with various designs was produced. Today, a significant number of Ottoman velvet is kept in museums or palaces. One of the mos t complete collections of Ottoman velvet is the specimen now housed in the home textile collection of the Topkapı Museum Palace. Therefore, in this research, the ques tion is what are the arrangements used in the Ottoman velvet of Topkapı Museum Palace? To answer this ques tion in the present s tudy, the remnants of Ottoman velvet are s tudied and with information extracted from the appearance of these textiles, including visual elements and compositions, including symmetry, golden proportions, and numerical ratios. It tries to answer the ques tion of this research. Certainly, the s tudy of the visual elements and compositions used in these velvet, which constitute the components of their organization and s tructure, can help to better unders tand the principles of traditional design used in Ottoman textiles. In order to do this important work in this study, the velvet collections of the home textile collection of Topkapı Museum Palace were selected and their s tructural details and arrangement were analyzed. These velvets belong to the treasury pavilion that was built in the seventeenth century and is added to the Topkapı collection. According to Julia Tezcan's catalog in 2007, there are ten examples of velvet home textiles. The selected velvets are all 17th-century Anatolian textures. These velvets were all woven and used to cover the royal throne and were exhibited at the same site, the museum palace treasury pavilion, only for a short time during the 11th ICOC conference. Table (1) shows the characteris tics of the Ottoman velvets s tudied in this s tudy. To conduct this research, it was necessary to firs t define the organization and some of its mos t important parameters in order to provide a model for its s tudy. This includes the organization of concepts such as composition and visual elements, the s tudy of each of which alone can be a separate article. Therefore, only a limited number of parameters that make up the composition and visual elements that can express the basic geometric properties of Ottoman velvet have been inves tigated in this s tudy. Fig. 1 shows the model designed to examine the s tructure and arrangement used in the Ottoman velvet in the textile collection of the Topkapı Museum Palace in this s tudy. The present s tudy is a fundamental theoretical s tudy to explain the characteris tics of the types of velvet in the home textile collection of the Topkapı Museum Palace. The research method is descriptive-analytical and the results of the analysis are presented qualitatively and quantitatively. In the analysis of the arrangements used in the velvet design, a s tructuralis t approach based on the pattern is designed to s tudy the s tructure and geometric arrangement (Fig. 1), and in the content analysis, induction and analogy have been used. Fig. 1: Relationship pattern between constituent parameters to s tudy the structure and organization of velvet specimens Table1: Ottoman velvet specimens The results of this s tudy showed that the color variety of velvet is limited to 3 colors and the matte red color in most of them is not only always present but also in many of them is the dominant color. The dimensions of the velvet samples are 115 to 200 cm in length and 61 to 67 cm in width or width, which is certainly due to the type of weaving-loom to produce this type of textile. Examination of the design and role of velvet revealed that one of the two motifs, tulip or clove, was used in them alone or together. It is also possible to classify the design and role of Ottoman velvet based on the presence of a lappet s trip at both ends of the transverse end and the end of the velvet. The role used in the double-ended s trips of the transverse and velvet ends is always a combination of six consecutive altars. In lappet velvet and in the area between the two laps, the central design is sometimes enclosed by a border. The velvet-free velvet design is also a repetitive and contagious role that can be limited to a narrow margin. Velvet with a repetitive design is mos tly borderless. The main background of fringed lappet velvet is based on a central point. In other words, the background design of this group of velvet is either a small flower that has eight branches or large bergamot that can have a background with four elastics in the four corners. Examination of the symmetry of design and role in the sample of Ottoman velvet showed that the design and role of velvet always have symmetry. Some specimens have only a vertical symmetry of 1/2 and others have symmetry in both vertical and horizontal directions. It should be noted that in Ottoman velvet, the velocity of the velvet background design does not cause symmetry in both vertical and horizontal directions. The results of this s tudy showed that the golden rectangle varies from √ 2 to √ 20 in each of the four parts s tudied. The highes t exposure ratio in the golden ratio for velvet samples in the four parts understudy is mainly in the main dimensions and the dimensions of the lappet. To calculate the numerical ratios of the components of a velvet, firs t, its different parts were measured on the velvet image with a single magnification and then by dividing the two measured. numerical values, the desired dimensional numerical ratio was calculated in the velvet sample. Based on the results, it was observed that in the sample of velvet s tudied, the ratio of velvet background length to velvet fabric length was always set to about 1/1. 4. On the other hand, the velvet weavers and designers of the Ottoman court always adjus ted the width to length ratio of the lap to about 1/5. It should be noted that research in the field of Ottoman culture, which was once part of Iran and now in its neighborhood and has had various relations with Iran for many years, in addition to increasing awareness of Ottoman culture, familiarity It will help more with the ancient culture of Iran. This is important by identifying visual perceptions in different types of Ottoman textiles and comparing them with the results extracted from visual perceptions used in velvet to explain the geometric principles and conventional arrangements in the design of Ottoman fabrics and then compare the results with visual perceptions extracted from fabric design. Iranian originals will be obtained. Examining the commonalities and differences between Iranian and Ottoman textiles will determine their influence on each other.

Hand-woven carpets are considered as one of the mos t prominent industrial and cultural arts in Iran. The design and role of these rugs are influenced by socio-cultural contexts and always have signs of society and culture of the producers. Among the different types of Iranian carpets, pictorial carpets are an important source of s tudy for unders tanding the social and cultural contexts of producing societies. The texture of these carpets became popular with various subjects from the Qajar period, under the influence of fundamental changes in printing techniques and photographic technology and influenced by the social changes of that period. In the meantime, a group of pictorial carpets influenced by the social and political developments of the Cons titutional Revolution were produced in the late Qajar eras, which in the contemporary his tory of Iranian carpets are referred to as cons titutional carpets. Coinciding with the years of the Cons titutional Revolution, carpet production and trade became the mos t important economic activity in Iran, and more than half of the country's working population was engaged in carpet production. Sociologis ts believe that works of art and culture, because they are produced, dis tributed and consumed in the social context and by human factors, therefore cannot be immune from the effects of social variables and the hidden and obvious traces of social changes can always be seen and s tudied in these works. Therefore, considering the activity of a significant part of the factors of production and trade of Iranian carpets during the Cons titutional Revolution, the main issue of the present s tudy is how to reflect the social dimensions of the cons titutional discourse in Qajar era image carpets. The purpose of this s tudy is firs t to emphasize the importance of s tudying pictorial carpets containing political and social themes as valid cultural documents in contemporary Iranian his torical and social discourse and then to recognize the visual dimensions of the reflection of the cons titutional movement in carpets and production geography this type of carpet. Accordingly, the main ques tions of the research are: a: How is the discourse of cons titutionalism reflected in the pictorial carpets of this period? B: Which regions belong to the geography of the production of pictorial carpets with cons titutionalis t themes? For this purpose, using library resources, 5 samples of woven carpets with cons titutionalis t themes were identified and s tudied in a descriptive-analytical manner. The results showed that in the Qajar period, carpet weaving facilitated the gathering of the working masses, the promotion of modernis t ideas, and the mobilization of forces for protes t and revolutionary actions in terms of inclusive development among production-prone areas. On the other hand, the intertwining of politics with trade and art in the Qajar era and the special place of carpet production and export in the country's economy and employment had caused pictorial carpets with cons titutionalis t themes in other arts to be influenced by the social discourse of the cons titutional era. The social dimensions of the cons titutionalis t discourse, including nationalism, libertarianism, jus tice, and progress, provided a s trong social and cultural foundation that was reflected in the arts of the period, including an important group of pictorial carpets. The analysis of the samples showed that the reflection of the cons titutionalis t discourse in the carpets of the Qajar period is reflected in the form of visual, literary and symbolic signs. These signs are depicted in the visual dimension by referring directly to the images of freedom-loving heroes and elites and the texture of their image in the field of carpets, and in the literary dimension by reflecting constitutionalis t ideals such as freedom and jus tice in the form of explicit written meanings. In the symbolic dimension, the reflection of these ideas has been done in the form of using the s tructure of composition and symbolic designs, including the s tructure of the altar and the symbolic design of the face. These cultural symbols and signs have contributed to the continuation of the discourse of libertarianism and modernism among the masses and the working masses and have created a symbolic and sometimes critical language towards the ruling class discourse. The s tudy of pictorial samples of carpets and characters attached to them showed that the majority of carpets in the geography of the city of Tabriz and with images of characters and heroes active in the city have been produced in this city. Attention to the political and geographical position and the role of human factors in the revival and development of Iranian carpet weaving in the Qajar era showed that the social elites of this city in terms of having such characteristics sooner than other regions realized the country's backwardness and were prone to accept new ideas and dissent. At the same time, the support of Tabriz merchants, led by carpet merchants, provided the ground for the production of carpets with images of constitutionalis ts in this city.

Present s tudy seeks to identify common points of Merlea-Ponty body-perception view and interactive digital art of contemporary era. The salience of interactive digital art as a modern art has necessitated its thourough s tudy. Present s tudy is of descriptive-analytic type and library method was applied for data gathering from the samples of interactive digital art exhibition held in Paris in 2018 titled Artis ts and Robots. It has a theoretical approach to the body perception view of Merlea-Ponty, the French philosopher of the 20th century. Merlea-Ponty argues that perception is bodily (physical). He contends it is body that percieves not the mind. Audience is not merely an inspector, but is active in the creative process of production. Present research findings demons trate that the interaction of audiences with interactive digital art is through body-perception, and the bilateral interaction between the two is so that there is no dis tinction between the subject and the object, but both shape each other. The main hypothesis of the research is: “ regarding the specific characteristic of interactive digital art, it is more effective to analyze it based on Merlea-Ponty views of body perception. Studying Merlea-Ponty views, it is found that interaction occurs in perception and the audiences of interactive digital art perceive these works through body perception” . In other words, this study makes an attempt to answer this ques tion that how critical is the role of body perception in perceiving interactive digital art. It has also sought some features of body perception in interactive digital art. Present s tudy seeks to identify common points of Merlea-Ponty body-perception view and interactive digital art of contemporary era. The salience of interactive digital art as a modern art has necessitated its thourough s tudy. Present study is of descriptive-analytic type and librarian method was applied for data gathering from the samples of interactive digital art exhibition held in Paris in 2018 titled Artis ts and Robots. It has a theoretical approach to the body perception view of Merlea-Ponty, the French philosopher of the 20th century. Merlea-Ponty argues that perception is bodily (physical). He contends it is body that percieves not the mind. Audience is not merely an inspector, but is active in the creative process of production. Present research findings demons trate that the interaction of audiences with interactive digital art is through body-perception, and the bilateral interaction between the two is so that there is no dis tinction between the subject and the object, but both shape each other. The main hypothesis of the research is: “ regarding the specific characteris tic of interactive digital art, it is more effective to analyze it based on Merlea-Ponty views of body perception. Studying Merlea-Ponty views, it is found that interaction occurs in perception and the audiences of interactive digital art perceive these works through body perception” . In other words, this study makes an attempt to answer this ques tion that how critical is the role of body perception in perceiving interactive digital art. It has also sought some features of body perception in interactive digital art. Merlea-Ponty argues that any analysis of human s tatus mus t regard the fact that human being is situated within the world. This physical presence in the world precedes the perception and self-reflection. in other words, s tressing the crucial and fundamental role perception plays in understanding the world makes the core of his philosophy. According to him, we are not independent, self-conscious beings as depicted in Rene Descartes philosophy, disentangled from the outside reality, but we are creatures the self-consciousness of whom is induced through interaction with the physical world and other creatures. Merlea-Ponty strives for the unity of mind and body agains t Rene Descartes' dualism so that the world's perception can be defined from a bodily viewpoint. Descartes philosophical statement Cogito, ergo sum or "I think, therefore I am" s tresses the subject and negates the world. However, Merlea-Ponty objected to the excessive stress Rene Descartes put on reason since he believed rationalism reduces one's experience of the world to a trivial thought, concept, or idea. What is quite prominent in Merlea-Ponty's philosophy is perception. According to him, there is no perception void of action. Perception requires action. Integrated attitude toward action and perception in Merlea-Ponty phenomenology turns his ideas into an interes ting initial point for discussing about user interactive experience. Merlea-Ponty theory implies that meaning is constituted through interaction. Accordingly, the interactive digital art makes an attempt to communicate novice experiences and a different narration of art. The audience is increasingly influenced by this sort of art which is a combination of games and entertainment. Human body is used as a concentration point for generating interaction with the audience. As a matter of fact, interactive digital art works s truggle to connect the audience with the art work both physically and objectively. This entails creating non-verbal dialogue with the audience and is generally accompanied with different body motions of the audience including jumping, rapid movements, etc. Merlea-Ponty does not conceive philosophy and art as two separate things, and his ideas regarding perception is as well applied in art. He does not discriminate agains t aes thetic perception and general perception. This s tudy therefore seeks the relationship between Merlea-Ponty philosophy and interactive digital art and it is attempted to analyze interactive digital art in a phenomenological way, based on Merlea-Ponty philosophy concepts. The methodology of present s tudy is descriptive-analytic and data is gathered through librarian method, exclusively out of a case of "artis ts and robots" exhibition, held in Paris in 2018. This case had a theoretical approach to body perception concept of Merlea-Ponty philosophy. This theoretical approach was chosen because Merlea-Ponty believes that perception is a bodily (physical) phenomenon. As perception and experience grew more prominent in interactive digital art, the phenomenological ideas of Merlea-Ponty in this regard provided researchers with noble ways for assessing modern art media. This s tudy specifically scrutinized the interrelation of body perception with modern art media (interactive digital art). Needless to say, the significance of interactive digital art in modern world necessitates its s tudy and analysis. Within las t years, numerous s tudies have been carried out dealing with interactive art and body perception. Present s tudy has however attempted to avoid repetition or review of over-s tated theories. The main issue in present s tudy is physical (body) perception for perceiving interactive digital arts. We therefore want to unders tand how this type of perception omits the boundary between subject and object and makes an interaction between them. It is as well studied how body expands or condenses through the movement detection technology in moderated arts. It was found out in present s tudy that in line with Merlea-Ponty viewpoints, the audience is not merely an inspector but is actively involved with producing the art work. This s tudy reveals that the interaction of audiences with interactive digital art is through body perception. The art work is perceived bodily and there is no dis tinction between the object and the subject in this interaction, but they are both formed through mutual interaction with one another. Body perception in Merlea-Ponty philosophy implies that perception experience belongs to a place and time which is not repeatable. The world perception is considered pre-cognitive and bodily and it is the result of the combination of body sense and motion with the world. He therefore argues that I see in the world and I am simultaneously sensed and seen. Accordingly, the interaction of the audience with interactive art through perception can be described as follows; Initially, it mus t be noted that perception is formed by "phenomenal field". The reference framework is defined by previous experiences the user has had with modern interactive cons tructs. The horizon or visual sight of the user is the phenomenal field in which all these interactions occur. For example, the habit of touching things or clicking which is rooted in life s tyle mingled with using modern interactive objects with the aim of further learning is a part of this phenomenal field. It mus t as well be pointed that perception is "oriented". Implicit invitation in interactive arts exhibition to using senses for the user of interactive objects evokes a specific "orientation" toward this art work. In this regard, the art work is primarily a thing which mus t be touched or needs an action (ex. Moving hands and legs, or blowing, etc. ) to turn active, not a thing to be merely watched. Furthermore, perception is of "active" nature. Perception of the art work needs an action. The user's experience is made up of both the appearance of the work and the user's behavior. Without action, we are left alone with a white screen and we lose the user experience which can be revealed through interaction. Perception therefore involved "the whole body". Experiencing an interactive art not only requires visual perception, but it as well needs body. The body and eye movements are integrated parts of perception process which leads to the perception of art work. Interactive experience is therefore both made by the object and it is mediated by it. Consequently, according to Merlea-Ponty, speaking merely of interaction is meaningless since it is the s timulus which leads to an action. Specific aspects of interaction would rather be described as perception. The visitor in interactive digital art exhibition perceives the art work through interaction with it. This interaction necessarily involves the whole body.