HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2022 | Volume:27 | Issue:1|Papers Count:12

Sir-e sangi or stone lion is a type of symbolic, historical and mostly abstract tombstone witch is found on the graves of hero warriors and elders of Iranian tribes especially Bakhtiari ones. This kind of tombstone has a root in the ceremonial, Shiite, and ethnic beliefs of Iranian people. The present study is conducted for the first time in the scope of 10 provinces of Iran which are mostly in Bakhtiari regions. The purpose of this research is recognizing these symbolic statuses by analyzing these kind of tombstones means stone lion based on their shapes, pattern and symbols. The question is, considering the cultural, historical and geographical factors affecting the evolution of the lion body, what aesthetic differences do we see? The research has been conducted in descriptive-analytical way. The main base of this article are the information are gathered from different books, documents, and field information by the help of the experts and specialists of the Cultural Heritage offices of 40 Iranian cities. The number of studied samples is more than 550 of these types of historical statues in the country. Sir-e sangi statuses are used differently in Iranian regions and cities. As an example, in two provinces namely Khuzestan and Chaharmahal and Bakhtiari, the stone lion statues are mostly cubic and have some kind of slop and shape as if the lion is jumping, representing a symbol of courage of the bared person. However, in some other parts like Isfahan city, the stone lion statues are not used just on the graves. They are located throughout the city mainly in the religious places like Imam-zadeh and mosques. They have a calm and cylindrical or curved body shape, which can be regarded as the symbol of the guard in proportion to the place where they are located. Some of these statues on the graves have inscriptions, too. In addition, in some regions like Aligoodarz city which is in Lorestan province and Fereydunshahr and Fereydan that are located in Isfahan province, they have humanoid, mood-oriented and expressive faces. In Yasuj city, the center of Kohgiluyeh and Boyer-Ahmad province as well as Shiraz and Kazeroon in Fars province, sometimes the direction of hands and feet of the lion represent movement. However, in the northwest regions of Iran like Tabriz in east Azerbaijan, there is no sign of jumping in Bakhtiari š ir-e sangi or stone lions. Since Safavid dynasty, this statues is also considered the symbol of Imam Ali (peace be upon him), the first Imam of Shiite Muslims. Lots of pattern are engraved on these statuses like sword, gun, dagger, horse, horse rider, antelope, warrior and religious elements. An important point which should be noticed is that these motifs are different based on the social, religious, occupational and cultural situation of the person whose grave is marked by a stone lion. Among these pattern, sword is the most common type. The reason can be found in the spirit of courage of Bakhtiari people and sword can be a symbol of courage.

In the process of human evolution, there has always been a relationship between the human (subject-observer) and the other things (nature-objects), he has been curious about everything unknown, indeed the objects as the "reality" of our environment has always been surveyed by human mentality, in this regard, human "consciousness" as "subject" plays an important role in knowing these"object". The presence of objects in human life has various roles. In the contemporery era, with the changing consciousness of the artist about the world and every things in it, a different approach about them have been emerged. In this period, we see that ordinary and ready-made objects are presented in the context of art, such as galleries and museums, as artworks, in which the artist has not played a role in their physical construction, so it is assumed that the role of the artist in creating this kind of artwork can be removed. These days, what gives value and it is better to say "credit" to the things as "object of art " is the complex mental networks that exist in the art world. In many aesthetic and philosophical theories have ignored the central role of the artist(subject) and dismissed her presence as the creator of the artwork, actualy they have only a formal look at art and literary works and give all of importance to the structure and form of the works. The purpose of this analytical article is to emphasize the role of the artist as a conscious subject in determining the new identity of these objects, which leads to a change in the perception of the artistic object. In fact, we want to prove that objects that are presented as artwork (especially in the contemporary era) cannot exist independently of the artist's idea and subjectivity. In this paper, after examining the theoretical foundations that include the concepts of objectivism, subjectivism and the process of creating consciousness in cognition, it discussed the relationship between object and subject (artist) in contemporary era. These questions will be answered: What is the role of the subject (artist) in determining the object (things)? What is the reason for changing the view of the subject (artist) to the object (objects) in contemporert art? The result shows that the role of the artist subjectivity in defining the object identity is stable and the perception of objects in contemporary art depends on the perception of the conscious of the artist that it is impossible to remove him and he can even guide the direction of the audience's perception. In presenting such object(ordinary or ready-made object), the artist changes the perception of artwork by changing the verb "to make" physically to the verb "to choose, and he also asks the audience to participate in creating the meaning and identity of the object. We can mention the social conditions and the emergence of new scientific theories such as uncertainty principle in the acceptance of certain reality, are the effective factors that have influenced the performance of the contemporary artist.

During different ages, art has always been a part of the human evolution and enhanced the social awareness over or in line with social changes. Emerged from modernism and in reaction to modernity in equality and differences at all sections, postmodernism provided a social basis for critical positions growth against the social domination, power manifestation in culture and modern life experience. One of the most contemporary forms of the art in postmodern societies is an approach with sociopolitical interventions. If the postmodern era was considered a historical-sociological concept in the historical age after modernism, the sociopolitical struggle practice is one of its main features. This form of art is pre-collective form and is of self-representing aspect like social manifests as main players of the social projects. On the one hand, cultural studies resulted from achievements of Frankfort School critical theory in postmodernity plays an important role in revising the political, cultural, social, scientific and art changes in contemporary world which read the upstream and downstream aspects with dialectic relations. Cultural studies focused on power structures and cultural texts such as meaningful culture artifacts using a concentrating method in line with postmodern populism and tendency toward the Frankfort school critical theory. Hence, postmodern art as a riot against modern art rules became the cultural text by change of position, subjectivity, how the work is implemented and change of audience place from passive to active one. Selecting social and political subjects, this art was interested in by cultural studies; in fact, methodological reading of cultural studies took into consideration the sociological aspects of the contemporary art which has been in deep link with cultural politics elements since 1990. Judgment on these aspects needs a model to determine their manifestations. Hence, justice theory formation by John Rawls focuses on freedom and social equality principles and addressing the justice theory at this age means a framework for explaining the cultural studies following which it is helpful in reading the social art works contents of this age. Accordingly, by library information collecting and selecting the images from internet and using descriptive-analytic methodology, aims to recognize the plurality idea in conceptualization of social justices based on art trends (not absolutely) in Shibboleth and domestic tension in postmodern era which is formed as a social action and changes the place of visitor to and experiences audience who receives the artwork in discriminatory place. The result implied that a spectrum of strategic interventions is proposed in postmodern art criticism and revision discourse. Collective aspiration seeks freedom and justice which in fact are revision of social paradoxes in modernity and mostly refer to the rejection of identities like ethnical minorities. Art subject is also a practical entity built in interaction with sociopolitical factors and conditions insisting on contemporary human's responsibility and subjectivity in social form. Therefore, defining the postmodern and justices in this age, cultural studies and postmodern art, this study explains the sociopolitical art sample in contemporary Shibboleth and domestic tension in discrimination related to the art activism.

The possibility of the painter's emergence as an "author" in Isfahan Painting School is discussed in this paper from a sociological approach focusing on the modes of art production. Therefore, by adopting a descriptive-analytical method, on the one hand, historical documents related to the modes of painting production at that time, and on the other hand, the subjects and forms of the works of painters of the style of that school were examined. The historical evidence shows that the production of works was still done collectively in the court's libraries during this period. This incumbent closed system only allowed few people access to these works. Here, painting is not an independent medium; however, along with arts such as calligraphy and illumination, it serves the "verbal narrative". In this respect, illuminated books represent the authority of the "verbal arts". As a result, there is less context for the emergence of the "author" in paintings compared to the verbal arts. On the other hand, in these libraries, an "artwork" was not commissioned and wages were directly attributed to the "labor" of the master painter. The emphasis was more on the "quantity" of work than its mental "quality in this payment system". In other words, the multiplicity of productions was more important than the "idea" embedded in "each" work or the artist's particular creativity. In such contexts, valuation typically depends more on mechanical factors, such as the finesse of details, dimensions, number of figures in assemblies, and the material foundation of colors, rather than on the painter's "mental expression". In this process, "authorship" meant "aggregation" and "completion" rather than creativity. The findings indicated that there was a limited but influential current in Persian painting from the mid-Safavid era that could produce works to some extent independent of the court library. Numerous reports indicate the existence of an independent market for painting in that period, and some local rulers and wealthy people emerged as new buyers and commissioners during this period. Obviously, the mainstream painting depended on court libraries, but this new movement introduced a new force into the Persian painting tradition. However, the popularity of the production of single-page paintings in this period prepared the ground for ordering and purchasing artworks by more people, facilitating the differentiation of painting as a medium. In the same proportion that individual creativity and transient, monotonous mental designs were used in the painting style, "individuals, " "faces, " appeared more and more in the works. Also, Safavid historical texts also refer to the seclusion of the prominent painters of the time, which can show sparks of the "melancholy spirit" of the artist as a genius. The manifestation of this trend is especially evident in the works of Sadeghi Beyk and Reza Abbasi, two prominent painters of that time. The few surviving works in this style show sparks of the painter's position as an "author. " Although it is impossible to delve deeply into the art economics of that time, Traces showed interesting examples of different styles in the Persian Painting tradition.

In some museums of the world, folios of a grand Qur'an are preserved, which is known as Baysanquarī Qur'an. The early scholars were supposed that the Qur`an was copied by Bā ysunqur, the son of Gawharshad and Shahrokh (807-850 AH/ 1405-1447 AD. ). Their idea was shaped under influence of Jame Bailie Fraser (1783-1856), the Scottish travel-writer who traveled to khurasan in 1237/1822. Some scholars have studied the components of this Qur'an and have tried to determine and analyze the date of production, scribe and features of the manuscript. Yet, due to scattering and lack of reliable documents, almost none of these scholars have reached a clear and convincing knowledge of the scribe, the time of production and the purpose for preparing this Qur'an. The last statement agreed upon by the scholars, based on a report by Qaḑ ī Ahmad Qumī , in Gulistā n Hunar. He has mentioned a story about a calligrapher named ʾ umar ʾ aqtaʾ who visited Timur and prepare a huge Quran for him as a gift. Scholars concluded that the time of copying of the Qur`an is the time of Amir Timur Gū rā n (772-807/1372-1405) and the scipt known as the ʾ umar ʾ aqtaʾ handwriting. But, during the last century almost 65 folios of the Qur'an have been collected in the Astan Quds Razavi collections. The folios are the largest number of folios related to the Qur`an preserved in a collection. Therefore, research on them provides new insights into the script, Scribe, and the time of the production of the Qur'an. This article, after a brief review of the codicological and historical features of the foilios, has made a direct observation on the script. The study revealed that at least three different but very close handwritings are used in the copying of the Qur`an. comparison of the handwritings to a signed piece copied by ʾ umar ʾ aqtaʾ is the second step of the study. The result shows that none of them is the hand of ʾ umar ʾ aqtaʾ . Additionally, a letter from Ghiath al-Din Jamshid al-Kashani, the Persian mathematican and astronomer, describes a Qur'an with similar characteristics to the Baysanghari Qur'an. He used the plural verb for copying the Qur`an which shows that more than one Calligrapher copied the Qur`an. According to the time of presence of ghiyath al-Din in Samarkand we can estimated the time of copying of the Qur`an between 823-832 /1420-1429. In addition to this, the huge Qur`an stand preserved in Bī bī Khanum Mosque, Samarkand, can be related to the Qur`an. the thuluth inscriprtion on the stand bears the name of Ulugh beyk. Therefore, we have two hypothesis about the role of ʾ umar ʾ aqtaʾ in copying the manuscript: first, there were at least two grand Quran: one copied by ʾ umar ʾ aqtaʾ which has not been survived any folios of it and another is that Qur`an known as Baysunquri. The second hypothesis states that the Qur`an produced under advisory of ʾ umar ʾ aqtaʾ as the administrate of a scripturiom of Ulugh Beyk in Samarkand during 823-832 AH/ 1420-1429 AD.

Every field of knowledge in a particular period of history has a collection of necessitating and depriving laws and rules, which determines about what you can discuss and about what cannot enter the discussion. This unwritten laws and rules, which at the same time ruling on any speech and writing, are "discourse" of that particular field in that particular historical period. In the ninth century Sufis movement emerged as powerful political sovereignty in Iran and established a new government named Safavie kingdom; anew emergence of Iran as an independent political unit in Safavie era was a struggle to retrieve a national identity before Islam. The Safavid dynasty created a new era in Iran history by formalizing the Shia religion in Iran and settling it as a religion of the majority of people. “ In the point of view of this era historians, religion constitution and spirituality were not an independent phenomenon from the government” . Because of a relation that historians had with the court and also moral and material centralization policies of Safavi king, they paid less attention to independence and existence of religious constitution and spirituality. According to the dominant discourse of Shia in Safavie era, for consolidation and expansion of the Shiite spontaneously, Shia king invited them to himself in spite of power and glory but there were serious signs of conflict and inconsistency between these two. A major difference between Safavi nationalism and its earlier period was in a role of "Shia" religion in the new identity that this time was responsible for. The confluence of religion and nationality in Safavi discourse caused religious unity be basis of political unity and national identity in Iran after about nine hundred years after the Sasanian government. A discourse which by highlighting, rejecting and marginalizing spread its dominant thought with a name of powerful government against the Ottoman Caliphate and other competitorA recession that had started since the eighth century, in Safavi era Speeded up. This haste was largely as result of Shia religion formalization and its gripping through court policies as well as increasing penetration among the public that gradually caused loss of Sufis. Due to the unfavorable social conditions in this era, Safavi kings used Shia religion as means of their purposes. . In this research has attempted to study the influence of social discourse of this era-that in addition to the ruling political thoughts can be Divided to three sections, Shia religion, ancient Iran philosophy and Islamic mysticism-on figures including music scene. This research is carried out through descriptive-analytical method and its data was collected through documentary method and for analyzing the data, the "Michel Foucault" discourse theory was used as a theoretical framework. The result of this study is that by all power and influences that Shia religion and philosophers and Islamic mystics had in the safavi era particularly in first shah abbas, the direct impact of government political thoughts on miniature and visual usage of social realities is obvious in designing scenes including music.

Gender Differences Arise From The Interaction Between Gender Physics And The Economic And Social Aspects Of Societies. This Approach Leads To The Emergence Of Characteristics Unique To Each Sex, Psychologically And Physically, And Ultimately The Acceptance Of These Characteristics By The Sexes Themselves, Societies And Cultures, Stereotypes And Gender Axioms. They Bring. Adopting These Stereotypes, Gender Patterns As A Background Affect All Relationships, Behaviors, And Social And Cultural Norms Of The Sexes. Behavioral Stereotypes That Always Exist In Evaluating The Performance Of Men And Women In Society Are The Differences Between The Way Of Thinking Of These Two Sexes And The Attribution Of Rational Behavior To Male Gender And Emotional Behavior To Female Gender. In Art, The Difference Between These Two Ways Of Thinking Is Reflected In Abstract And Realistic Works. Based On These Two Dimensions Of Mental Stereotypes In Society, It Seems That More Abstract And Geometric Works Are Considered Masculine And Realistic Works That Express A Kind Of Feeling Are Considered More Feminine. While Men And Women Do Not Differ Much In Terms Of Orientation Towards Different Arts And Also The Degree Of Success In Achieving Their Goals In Art. Based On This Assumption, In Addition To The Existence Of Various Styles And Artistic Tendencies, The Main Core Of The Present Study Is The Study Of Works With Realistic Style And Abstract Works To Help Achieve This Category Of Whether Gender Stereotypes In Attribution Is A Work Of Art Effective For A Man Or A Woman? The Present Research Method Is Of Survey And Field Type And Has Been Done By Relying On Experimental Methods And Quantitative Method As Well As Studying And Reviewing Scientific Documents. In Order To Measure The Research Hypothesis (Gender And Social Maps Affect The Attribution Of Works Of Art To Men And Women), The Scale Of Speculation Of The Gender Of The Creator Of The Work Was Used. Findings Show That In The Application Of A Work Of Art To A Particular Genre, It Is Influenced By The Audience, Stereotypes Or Gender Ideas, As Well As Gender Roles. For Example, The Adaptation Of The External Space To Men And The Internal Space To Women Is Due Same Mental Stereotypes In Assigning Social Roles To Gender. In Other Words, Audience Of The Work, By Default, Imagines Women In The Home And Indoor Environment, Which Depends On The Descriptive And Obligatory Aspects Of Gender Roles That Are Accepted Among Some Cultures And Societies That Women Are Involved In Housework And Affairs. They Are Closely Related To Breeding. Another Common Attitude In Judging Gender Is Color. Participants Attributed Most Of The Works With Limited Color Spectrum To Men, As Opposed To Those With A Wide Range Of Colors And Red, Pink, And Orange. This Stereotypical Behavior Towards Men And Women Can Be The Result Of Accepting Superficial Differences Between The Sexes; Basically, Men Recognize A Limited Range Of Colors, While Women Tend To Be Pink, Red, And Orange, And Have A High Degree Of Color Recognition.

Calligraphy art is one of the top and special arts related to Islamic periods in Iran and is used in architecture decoration that has a great value among Muslim artists for its divine word credit. Kufic script after getting into Iran and Being accepted as main art by artists, appeared in artistic fields and with artists` passion found its way in all arts as after passing two centuries from entering Islam into Iran, it is one of the best decorative elements in building decorations and Islamic architecture. Kufic script could reach to the top of its glory and aesthetic in two periods of Ghaznavian and Salgoqian governorship. Iranian Kufic became popular with the combination of ancient Kufic as the best decorative element in buildings and artistic industries. Like all Islamic arts, it encompasses diverse arrays of forms created in a wide variety of contexts. During 5th and 6th (Hijri), Kufic script got lots of changes in legibility and aesthetic in architecture decoration. artists appeared a new model of Kufic script by combining, Script, drawing and painting. as a model we can refer to Arsenal Jazzed painting inscription Which is related to Ghanaian governorship in 5th century and is placed in Khorasan. it is considered one of the most popular and brilliant Islamic arts in Iran. In the present study, Two principles, words structure and form has been noticed in order to identify Kufic script in centuries 5and 6 according to decoration and aesthetic inscription of Arsenal Jazzeb tomb. in order to reach these principles (structure and form ), in the first view, form and structure of words in painting inscription of Arsalan Jazeb tomb has been studied and In the second view the form of words and decorations related to the whole border of painting has been considered. Taking a look at this Islamic art model, we can notice that the walls of the tomb are adorned with inlayed and also you can see an inscription in Kufic script. this tomb has a short stone dome placed on an octagonal base, which is with Kufic script too. it must have been one of the best building in its time according to architecture and aesthetic elements of it that has made it one of Islamic art models and is still popular. The result of this study shows a great growth and knowldege in calligraphy and script during those centuries which has made a new script in region of Khoarsan. this study has been done about form and structure of Kufic script in Khoarsan in a descriptive, analytical way, and documents, especially field photography have been collected in order to provide a better and clearer vision into one of the most popular Islamic masterpieces in the hope of identifying and introducing Islamic art and specially calligraphy to all who are interested in this case in order to get a better view of Islamic arts seed in famous buildings like Arsalan Jazeb tomb.

Mass production and demand growth have led to producing a huge volume of clothing and items that are environmentally harmful and have relatively irreparable consequences. The art movements' impacts on fashion industry have caused a shift from the massive production to the aesthetic approaches and emphasis on quality against quantity. As fashion in different ages has been influenced by arts, movements, social and cultural events, the main aim of this research is to consider the H&M's sustainable approaches for the realization of the 'return to nature' principle and the two Art movement's influence against rationalism and mass production. Romanticism is an emotional response to rationalism, and the Arts and Crafts movement manifested to oppose the industrialization of human lifestyle and was strengthened by the theories of John Ruskin and William Morris. The romantics were looking for a way to escape from mechanization and materialism in life, and were considering nature as the human spirit. The members of the Arts and Crafts movement chose a style that was widely known and reflected the principles of the movement: originality of the materials, simple forms, revival of native traditions and natural motifs and designs. Interestingly, sustainable fashion could be related to the values appreciated by the movements. The common feature of the movements is the utopian civilization of Rousseau and Morris, and the important attributes of this civilization include the human spirit, spiritual values and appreciating nature. In the research, we proposed how Romanticism and the Arts and Crafts movement appreciate nature and have influenced the H&M's Conscious Exclusive 2018 Collection in achieving the sustainable fashion approaches. We aim to review the theories of Jean-Jacques Rousseau and William Morris, and the way they are being related to the sustainable fashion approaches and sustainability. Since 2011, the H&M group has offered the Conscious Exclusive collection annually to achieve its sustainable fashion goals and the main concept of the collection is "good for the planet, people and wallet". Considering the concept, it can be found that Romanticism and the house of Carl and Karin Larsson has been intelligently chosen as the source of inspiration for the 2018 collection. Although H&M is a mass production company, it considers aesthetic in fashion productions. Some features of Romanticism and the Arts and crafts movement can be seen in the H&M's CE 2018 collection. The theories of Rousseau and Morris, the features of Romanticism and Art and Crafts, and their influence in the fashion history have been studied in the paper. After that, the fashion items of the H& M's CE 2018 collection have been classified in quest of the features of Romanticism and the Arts and Crafts movement to realize that how the H&M group has been inspired by the above-mentioned movements. This article is focused on the common features between Romanticism and the Arts and Crafts movement, including the appreciation of nature, the human spirit and spiritual values; the nature conservancy, return to the natural simplicity of life, and the opposition to the industrialization of human lifestyle.

The Qajar dynasty came to power in 1785 and ruled until 1925. During this last phase of traditional Persian history, succeeding shahs tried to change the isolationist stance of the country by expanding cultural and economic interchange with the West. The 19th century was marked by continual unrest, caused by tribal groups competing for power. Foreign encroachment also contributed to conflicts. By mid-century, Persia had again become a crossroads to the East, because European colonialism demanded short routes to the Orient for explorers, archeologists, soldiers, scholars, pilgrims, tourists, writers, painters and photographers. It was under this dynasty that art flourished in a different way. Under the Qajar dynasty the best miniature painting is usually found not in the illustration of manuscripts, as in the earlier periods of the art, but in the decoration of objects in lacquered papier-mache. This art reached a high state of development under Fath Ali Shah, but the best works produced under Naser al-Din Shah in the middle years of the 19th century was perhaps even finer. During this century lacquer wares were one of the most important forms of decorative art produced in Iran. Their importance is reflected in the sheer quantity of items that were made, and in the dynamism with which the decoration of lacquer wares developed. Actually, the lacquer wares produced in early Qajar looks very different from those in later times throughout the whole century, especially from the Nasseri period on. It can hardly be doubted that the lacquer of the early Qajar period was to a large extent a continuation of the traditions established in the late Safavid, Afshar and Zand periods. The repertory of 18th century lacquer decoration included figural, floral and flower-and-bird themes, illumination and calligraphy; however, this visual tradition inclined towards more realistic subject matters with an emphasis on portraiture, most specifically depicting the portraits of kings, princes, officials and dignitaries. Appropriation of western cultural achievements is considered as a main feature of Qajar art manifested in almost all artistic media. Western art and its cultural elements are so broad in extent that they have even exerted their influence over the creation of native, religious and folk art in Iran, especially the lacquer works. The art of lacquer painting underwent drastic changes and development during the Qajar period and different themes were introduced, including the religious portraiture. Preserved at the Bern Museum with a religious theme and the depiction of holly Shiite imams, the lacquer mirror case by Mohammad-Esma’ il Esfahani (1871) is a case to be studied in the field of Europeanization and its manifestation in a traditional framework. Conducted in analytical-descriptive methodology with the aim of reassessing and analyzing western artistic elements in a traditional Qajar lacquer work, the present essay has been done in three levels, i. e. visual structure, theme and subject, and non-native influences. The results demonstrate that the mirror case has adopted some foreign elements from the West, the most evident of which are “ mandorla” or almond-shaped aureola, “ altarpiece” structure and “ Rococo” ornaments.

Today, millions of people around the world use digital cell phones and social networks to produce and share modern cultural products across a wide geography. The importance of virtual communication networks stems from the fact that the audiences of such networks are able to play a role in both consumer and producer positions. Among the virtual social networks, Instagram is one of the networks that has become one of the most important communication systems of the last decade since its establishment (2010) due to its popularity and significant growth in terms of user attraction. Instagram is an instant mobile photo sharing service that quickly came to the forefront. One of the reasons for the success of this communication system is the consumption of photos and video images, which has become one of the most important social trends in virtual communication today. In the book Instagram and Contemporary Images, Manovich highlights the importance of Instagram, in addition to aligning the network with the camera, cell phone mechanism, as well as sharing everyday images, and believes that this feature not only distinguishes Instagram from other similar visual programs, but also shows new generation of photos. In this book, after reviewing photos shared by Instagram users, Manovich divides them into three types: casual photos, professional photos and designed photos. Manovich After comparing photos of casual and professional with similar counterparts in the twentieth century, he specifically considers the type of designed photos belongs to the era of the rise of Instagram. The type, which he believes is unique in its aesthetics, is the result of a combination of individual choices and Instagram features. He attributes this type of photography specifically to the period he calls Instagramism. Due to the novelty of the subject and the importance of its reflection in other interdisciplinary studies related to art, media and culture, This research intends to introduce the type of designed photos with a descriptive and deductive analytical method and compare it with photographs of conceptual art style. Data collection in this study was done using library documents and written electronic sources and the theoretical foundation of research is based on the views of Lev Manovich in the book of Instagram and Contemporary images. The photographs used in the study were also purposefully selected based on the selection and display criteria of the photographs designed by Manovich. Also, photographs of conceptual art style that have been selected for comparison with the designed photos style have been selected qualitatively and according to the prominent features of the style of conceptual art photos. Based on the similarities, the research findings show that the style of the designed photos can be enumerated along the life of the photographs of the conceptual art style. Also, It is recognized that the differences between the two groups have been influenced by the context in which Instagram is presented, as well as the features of mobile cameras. Two important factors that make them stand out against each other regardless of the structural similarities between the two groups of their goals.

This paper is concerned with the investigation of the effect of changes on the culture of education based on the cultural design contents and tools. The aim of this study is to deliberate the possibility of transferring the educational material intactly by professors, teachers and instructors virtually and also performing appropriate practical exercises by students in a team for learning those materials in virtual learning environment specially for practical fields such as Design. For this aim first an extensive literature review was conducted regarding education, positive education, positive psychology, online education, culture of education and dynamism or durability of culture. Nowadays education is mostly focused on transferring knowledge and neglects nurturing the other aspects such as physical, emotional, spiritual and psychological skills and also developing character strengths which leads to flourish and wellbeing. Obviously neglecting these aspects has negative influence on the society. Positive psychology was formed to solve the inefficiencies by focusing on character strengths. Based on positive psychology, positive education was established to reduce the neglection of those aspects. In order to apply positive education, few workshops entitled “ Design in Culture, Culture in Design” were performed, in which methods and tools for cultural design have been taught based on positive education. These workshops were instructing culture sensitive design and at the same time were aiming to influence the culture of designers to enhance their views towards happiness and wellbeing. One of the important factors in designing educational program is culture. Culture is dynamic and obliged to change. Design is also dynamic and considers the changes. Different situations need different strategies. Therefore, in this recent pandemic Covid-19 which caused mutation in all aspects of life, so many design considerations were needed. One of these aspects was education that required adaptation with the new situation. Although the infrastructure and technology of online education existed, wasn’ t yet inclusive and culturally accepted. Due to the experience of the previous workshops and the new situation caused by coronavirus, an online workshop was designed and performed. “ Giving Meaning to Quarantine” was chosen as the theme of the workshop. Even though these workshops were hands-on and required teamwork, it was assumed that it could be performed online and all that practical teamwork could take place from far distance. For this aim there was a need to consider the limitations, challenges and opportunities of the new situation. For example, the medium which has provided the opportunity of online communications, could be itself a barrier for a proper interaction. Due to the particular situation of quarantine and lockdown which kept people in their houses and caused anxiety and boredom, “ home” was chosen as the context of the project. The results showed that in spite of physical distance, the team could cooperate interactively without difficulty. They used social media context to gather information for their field study. Division of tasks took place and their project outcome which was consist of 3D model, prototype and animation was successfully presented. Therefore, it was concluded that online education could be practical.