HONAR-HA-YE-ZIBA
Year:2008 | Volume:- | Issue:33|Papers Count:14

The prophet Mohamed's everlasting miracle is the holy Quran, one of whose aspect is the artistic images by the means of which guidance of mankind has been accomplished. The Quranic terms as luminous lanterns, resemble prism, has multiple aspects: their appearances are beautiful and their meanings are prolonged, one layer into another. Reciting Quran compiles all the sensations; motivates wisdom and employs image to describe reality. The present essay is a humble attempt to unveil one of the unique stunning attributions of Quran appearance, as well as to suggest and introduce its influential role in guiding the mankind. In so doing, all subjects supporting the issue, on the strength of valid references and experts' opinions, have been mentioned. The aforesaid subjects are as follows: the inner and outer rhythm of the verses, the harmony of the terms and their meanings, the literary delicacy and ingenious makings, the aspect and kind of miracle, the divine made health guarantee, the way through which massage is convoyed and received, the mysterious individual letters, and revelation of Quran as the real words of God. On the other hand, some aesthetic evidences such as how to decorate the meanings by images and sensations, to conceive the emotions by descriptions of natural and super natural visions like Resurrection and real stories have been established. It should be added that the artistic images in Quran are combined with hues and motivations, with the soft ringing of the words mixed with the singing of the sentences and rhyme of verses in such way that all sensations, spirit and wisdom are filled with them. The all mighty God has implemented the delicacy and intricacy in Quran, the ones which has done to the all other creations. The experts in Arabic literature and learned men, like physicians who understand the supremeness of the creation of the body of human beings given that they are not aware of all the mysteries of the body structure, know the decisive values and extreme beauties of Quran. The Quran in accumulation, given all diversities in stages and levels, is an even literature collection in terms of eloquence and fluency. The organization of Quran like other organization of every creature which is intended to perform some specialized purposes, has been specialized by the means of every words in groups and phrases, so much so that if one of the words is replaced or changed, the whole organization of Quran would be impaired. The interpretation of Quran, even in the Arabic language, dose not enjoys the novelty existing in the original verses; in such a way that it's being artificial goes without saying. When contrasting Quran with other texts we come to a kind of incontestable result including this fact that Quran is a matter of mere uniqueness rather than a man made literary work. In so visualization, its most important attribution is that the nature of human being comes to a close contact with the conceptions expressed by Quran and so can inhale the marvelous beauties and sensations. The eloquence and, subtle kind expressing the most prominent points in the suitable consequence and joining of the words in Quran, while, at the same time, no ignorance of music and meaning can persuade every literary man to come to the confession that this amount of beauty making cannot be attributed to human being but to the divine revelation-the one which can serve as the fully and highly reliable proof and evidence, as well as an miracle for the prophecy of the great prophet Mohammed.

Developing common vision of Tehran city-region governance system is based on study and consideration of three main factors: literature review and cross- national comparative study, study and analysis of current governance situation and recognition of main players attitudes. Main focus of the vision is accepting a regional approach to the governance of Tehran metropolitan region. TMRs governance system in the vision has the potential to represent regional benefit and interest against national and local ones. Formation of above mentioned regional sense and conscious among all players and level of government make possible to prefer long-term and strategic regional interest to short-term and reactionist decision-making. However, realization of the visions content requires main changes in different dimensions of current governance system. These changes vary from legislative to institutional, spatial, territorial, and planning and implementation systems. The original version of paper will attempt to show some aspects of these required changes. TMRs vision is ideal image that explain desired characteristics of regional governance system achieved in a 25 years period. Following paragraphs summarize some aspects of that common vision: In the horizon of TMRs vision, we find a kind of regional conscious and sense that is the result of recognition of TMR as an organic whole by all players. Through this new conception from all players in the region, long-term regional benefits preferred to short-term local ones. Consensus-building realize in or by documented and agreed common vision. This kind of regional sense ad conscious is reflected in recognition of TMR governance system as a distinct level of government. New layer of metropolitan region governance is result of local reorganization. TMR in the horizon of vision have has a regional governance system that is appropriate to capital city of Iran. This system attempts to promote coordination, cooperation and collaboration within the region. Regional governance system has a strategic regional vision, as a result of regional visioning, and by strategic planning in this level provides a decision-making framework for all players in the region. TMRs governance system, because of its territorial coverage scales, in addition to insuring inter-sectoral and inter-organizational characteristics, in inter-governmental and inter- jurisdictional in nature. TMRs governance system make possible to use economy of scale and make and implement integrated policy within the region, so can decrease political fragmentation and its consequences. Dominant values of TMRs governance system are accountability, transparency, effectiveness and legitimacy. Based on these values, the governance system can present regional interest against national and local one. TMRs governance system, by recognition of its status in national, regional and world system, attempts to provide a good economic and physical environment for inward capitals, increase competitiveness and enhances quality of life within the region. So in the horizon of vision, In the world level, TMRs characteristics are close to advanced countries metropolitan regions one. In regional level, TMR is a pioneer and ideal model for other metropolitan regions. In national level, TMR is a successful model for other metropolitan regions in the country.

From 1961 till now different and in some parts destructive earthquakes have caused heavy damages and life losses in different parts of Iran. The absence of consideration to proper locating of cities, plan less urban growth and development, non renovation, rehabilitation and reconstruction of old urban fabrics and etc. have caused a lot of problems and difficulties in preservation of cities from natural disasters. Old fabric of Zanjan city coincides with cultural, historical and central cores of the city. Existence of urban historical and valuable elements such as traditional bazaar, Jame' mosque (sayed mosque), Imamzade seid Ebrahim mausoleum, Yokhary and Ashaghy cemetery, Daraii building, Zolfaghari house, Sabze Meidan (square), Khanom and Abasgholi khan and Mirzai mosque, Rakhtshoy khane, Sardar and Mir Bahaaldin and Haj Mamad bridge, Karvansaray Sangi, Hosinieh Aezam Zanjan are from most important elements of identity in cultural and historical part of the region. Nowadays this historical fabric have faced huge problems and difficulties such as : lack of some urban services and land uses per capita like parking and open urban space and public space, loss of appropriate hierarchy in communication network and impossibility of permeability inside organic fabric, existence of incompatible land uses, loss of sufficient green space, inefficiency of compressive and detailed plans urban development, old facades, low quality of buildings due to their age, use of inappropriate materials, separation system based on small lots, non existence of appropriate urban facilities and equipments, location of most urban fabrics in buffer zone of historical and cultural monuments and insufficient codes of construction . As a result, this old and valuable fabric has lost its population in interest of marginal regions and complexes in preparation stage. Nevertheless, it is still part of densest urban areas in Zanjan city. The experience of recent decades earthquakes (example bam) show that most human life losses and physical damages take place in old urban fabrics. Where crisis & emergency management faces fundamental problems ; accordingly preparation of detailed earthquake zoning plan, recognition of unsustainable zones in natural disasters (Earthquake, flood, storm …) and artificial disasters (fire, ditch, …), the location of centers of succor and rescue, recognition of obstructed streets, calculating the volume of collapse of building units after earthquake is of significant importance. In this article by choosing criteria like building structure, ratio of height of building to width of neighboring street, quality of building, area and separation, age, number of flats, width of street, distance from fire-prevention centers, medical centers and void lands recognition of unsustainable zones have taken place with geographical information system. Between different data modulation systems and decision-makings in urbanism like index overlay, Boolean logic, hierarchal analysis process, neural networks, regression, correlation coefficient, factor analysis, fuzzy logic is one of the best models that is used in this research. The results of this research show that a great part of the region is unsustainable in natural disasters and the need for its renovation and rehabilitation is deeply necessary.

The Climate of the city is subject to two seasons of a hot and humid summer and a long spring. From November to the middle of February, it is rather cold. In May, temperature starts rising and the three succeeding months of June, July and August are quite hot and humid. Sandstorms occur occasionally during this season from the desert of Saudi Arabia. In May and August, maximum temperature at times rises to 50 Degrees Celsius. The minimum temperature in winter goes down to 1 Degree Celsius. The average rainfall throughout the year is only 250mm.By the study of weather conditions, in Dezful, we face unpleasant elements, which force us to search for a solution to control weather conditions with respect to traditional architecture as well as local culture. A study about geology of Dezful shows that, in Dezful ground has Conglomerate characteristics, which for top-level 1.5-2 meters is clay, and below that, for 120 meters is Conglomerate. For local people this type of formation is known as Kamar. Therefore, type of ground in Dezful is uniform, and gives us the opportunity to excavate in any directions.There are verity of elements acting on Shavadoon design like, daylight and humidity. To deal with these factors craftsmen dig vertical, tunnels know as Dariza or Si-Sara and horizontal tunnel known as Taal. Dariza constructed from depth of ground to central courtyard level or rooftop. These vertical tunnels bring enough daylight to depth of Shavadoon as well as to reduce Shavadoon moisture. Craftsmen developed different local solutions in the passage of time like, connecting different Shavadoons to each other or providing vertical tunnels or Dariza, which connecting the inner space to open air that may be street or rooftop or central courtyard. In this way, they introduced wind-catchers or Badgir. These vertical components draw cool air from depth of passive cooling system to interior spaces. The other important point about Shavadoon is using its moderate air in upper floors. Passive cooling system, in Dezful consists of two separate exterior and interior spaces. Inner connection of interior and exterior is possible. However, the relation between these two parts is for ventilation not for entrance. The inner space consists of few rooms, which are named Kat and Hall so called Sahn. One of the advantages of Dezful Shavadoons is related to the soil conditions. The ground is made of Conglomerate, which allowes better evaporation and that makes the system cooler with less moisture. Shavadoon consists of limited spaces. Those spaces are linked by narrow corridors and network of tunnels. That makes possible the relation between interior and exterior components. There are two openings from the Shavadoon to the structure. One by staircase, which is designed according to the building plan, and secondly, by vertical tunnels, which make it possible to draw fresh air from depth of ground to upper levels, and provide good ventilation. However, these characteristics of traditional passive cooling system or Shavadoon in Dezful make it one of the masterpieces of Persians architecture, which can be applied in modern days.

The nomadic way of life is one of the oldest human lifestyles, whose philosophy stemms from taking advantage of natural resources as well as adapting to the geographical/ climatic conditions. House in this lifestyle, has to be extremely mobile. However, because of political reasons, security concerns, and/or providing services and welfare, settling nomads has very often been considered by governments since the past century. The attempt to settle the nomads had and still has its particular pros and cons. Efforts to settle the nomads in Iran were made first in 1931 by Reza Shah, and gained strength in the recent decades, leading to the development of New Towns designed to house the nomads. Settling nomads in new developments has always raised many questions with little answers. Looking at the case of Gol Afshan New Town, this article discusses the doubts and questions around this policy, and studies the issue of replacing mobile nomadic shelters with permanent masonry houses. The study of the designs and planning in this case illustrates shortcomings and flaws in the process, from which lessons can be drawn for the future decision making. The outcome of this study can yield theoretical framework for those who are interested in the issue of housing the nomads. This research consists of two parts. In the first part, a study is done to understand the life style of Nomads before and after permanent settling. This study includes the history of permanent settling of nomads, its effect on their life styles and the professional points of view about its advantages and disadvantages. In the second section, a field work is done to introduce a case of permanent nomadic housing and its sound effects. The article is concluded in the last section. The conclusion is based on theoretical studies and field works. Moreover, regarding to nomads needs in the permanent housing life style, some important points are proposed as follows to be used in future. The house depends on the social/cultural conditions, economic and geographical/climatic conditions. Nomads should cooperate in different steps of house establishment like: financing, designing, selecting the material and constructing. It is highly recommended to avoid having typical plan for all the people. On the other hand by using their cooperation the prototype designing of the house can be introduced. Complicated planning for site and houses should be avoided due to nomads state of mind and life styles. Designing the prototype of the house should be harmonic with the rural housing in the same area. The proposed house plan should have the potential to be developed in the future. The development can be done in several phases while the first phase is to construct a shelter with the basic needs for the settlers. Construction materials should be inexpensive and locally available. The building technology should be vernacular and straightforward to be learned easily by nomads. Like villages some special places should be concerned to keep domestic animals and their needs. For example: barn, stable.

Each year, many people lose their houses due to natural disasters. In Iran, in recent years, numerous people have become homeless because of devastations inflicted by earthquakes and floods. Following such catastrophes, providing makeshift shelters for the survivors is the first and most important task. Tents are a common solution to the sheltering problem. However, despite the fact that a variety of tents have been designed and produced, most of them fail to meet the durability requirements of the climate of Iran and the specific cultural needs of the region. The investigations showed that at present there are just limited models of tents in Iran available for sheltering the survivors in disastrous situations. A number of problems have been highlighted regarding these tents. For instance, the interior space of tents is not suitable for movement of residents and there is no privacy for people in the tent. Besides, as the tents are designed as a big room, all of the clean and filthy equipment are stored in one place. Also, these tents are not appropriate for diverse climate of Iran, because the windows and vents are not adequate to make enough ventilation and air exchange for tropical regions. Moreover, they are not appropriate for chilly and rainy regions to prevent draught and water inside the tent. As the tent floor is at the same level of the surrounding ground, water and mud may enter the tent. Furthermore, setting up the tent requires a lengthy and cumbersome procedure. Finally, the poles, pegs and ropes are not strong enough against the pressure of gales and they themselves may pose threat to the safety of their dwellers. Therefore, a concept design for a tent was presented that addresses the discussed issues. The proposed concept has a spring structure, which holds it in place and there is no need to any rope to create tensional forces. Furthermore, the new concept has a repeating structure and consists of similar modules. Therefore, using similar parts with the same size and shape helps user to assemble the tent easily in a short time. The spring structure makes the tent residence against powerful winds. In order to make the tent resident to the dampness, the suitable impermeable material was searched and suggested. The tent floor is designed in a way which slightly higher than the ground and prevents the influx of water and mud into the tent. By increasing the size and number of the windows, ventilation and lightness is improved. The interior space was divided into several parts. Therefore, the clean and unclean, necessary and unnecessary equipment can be stored separately. For instance, dirty shoes can stay out of the dining and sleeping spaces. The form and location of the entrance door is in a way that inside the tent is protected from the sight of passer-by strangers, an extremely important point in Iranian culture. The concept is simple and the raw materials for construction of this tent are available in the country. Therefore, it is possible to produce it locally. The next step in the development of this product will be making a prototype and evaluating it in the field. The mass production of this concept can effectively save the future survivors of natural disasters.

The key to the creation of the Ilkhanid and Jalayirids art lies in the methods and objectives of the kitabkhana staff, those artists and craftsmen responsible for visualizing princely aspirations. Their adherence to strict notions of artistic conception and transmission was repeatedly borne out by works in a variety of media. There are intriguing anologies among painting, decorative arts, poetry and royal myth. The painting and calligraphies surviving from khitabhana make it possible to begin to reconstruct formal categories. Kitabkhana had two ateliers: ketabatkhana and suratkhana. These divisions were not absolute in conception and practice; they clearly constituted loose groupings reflective of a dynastic visual program. Links with Ilkhanid and Jalayirids ateliers are comfirmed by the "chain of transmission" between master and pupil. The confluence of highly trained artists from this heritage encouraged the creation of an ambition, state sponsored program of artistic production. Litrary evidence often implies a close relationship between ketabatkhana and suratkhana. While details of the relationship between kitabatkhana and suratkhana may be debated, the nature of the art born of that conjunction is vastly clarified by an abunbace of technical material preserved in the manuscripts and albums. The various idioms of the illustrative category: epic, poetic, historical and scientific, were all created by Ilkhanid and Jalayirid patronage. During Ilkhanid and Jalayirid period the productions of luxury manuscripts was such an elaborate process of specialists, or even team of specialists, were required for calligraphy, decoration, gilding, illustration and binding. The complicated paintings in such luxury manuscripts were undoubtedly executed by several artists and apprentices. We know the names of one team of scribe and illuminator and painter who worked in Rashid al- DinH s atelier, presumably at Tabriz. Several scribes from Kashan also penned illustrated and illuminated manuscripts in the Ilkhanid period. By studying the kitabatkhana and suratkhana (writing and picture gallery) we can get a sense of working methods developed by the artists in Ilkhanid and Jalayirid period. A Tradition of illustrated manscripts can be documented in the Persian speaking lands of Iraq and western Iran during the rule of Ilkhanid dynasty, when several distinct Style of book painting emerged. The reasons for this apparent spurt in Production are not totally clear but it was undeniably related to the general cultural revival sponsored by the Ilkhanids. Familiarity with Chinese illustrated Scrolls may also have played arole in this development. Extant manuscripts show that the scribe first copied the text, having blanks for illustration. Sometimes the Scribe himself painted the Pictures: sometimes another artist did. The best example of a 14Th- century Scriptorium is the one founded by the by the vizier Rashid al-Din in Rab- I Rashidi, his quarter in Tabriz. Its endowment deed Provided for the annual copying of the Koran and other religious manuscripts, and an addendum Provided for the annual copying of the vizier`s Collected works in Arabic and Persian. Some of the 220 slaves attached to the complex were assigned to the tasks of calligraphy, Painting and gilding, and all manuscripts were to be done on good Baghdadi paper in a net hand, collated with the originals in the library and bound in Fine leather. In this article the Trend of this element was studied.

Among the fine modes of calligraphy, Nastaliq can undoubtedly be regarded as the fruit of the Iranian taste. Due to its acceptance among the Iranian public, it became greatly widespread and popular in a manner that most of the Persian books in the tenth Hijri century were written in Nastaliq. Old tales relate the birth of Nastaliq to Mir Ali Tabrizi, one of the calligraphers of the Teimuri reign. Yet the surviving manuscripts from the eighth and early ninth Hijri century show that Nastaliq was born several decades before Tabrizis time. In this short article, the author has gone into some of the aspects of reasons and ways of its appearance and popularity in the Iranian Islamic Civilization. In the early eighth century, Naskh which was the popular mode of calligraphy of the time in Iran began to be produced with more curves than before, owing partly to the improved speed of writing and the impact of Taliq which was also practiced by most of the calligraphers. Some researchers have called it New Naskh compared to the old Naskh. Most of the books in the eighth and early ninth century were written in this new mode. Some calligraphers that practiced the two modes began to have fun with them and by keeping the scale from Naskh and curves from Taliq, produced a new mode called “Naskh Taliq”, which was later verbally combined into Nastaliq. This is regarded as the initial or writing stage of Nastaliq. Besides the gradual changes of the new Naskh, the other factors that influenced the process were miniature, fine decoration of texts and making valuable and expensive versions of poetry books or divans. The evolution of these arts and their excessive delicacy required a mode a calligraphy that could conform with their various shapes and figures. Writing Persian poems more beautifully and improving decoration of books can therefore be considered as another reason for the appearance of Nastaliq. It can be guessed through old references and manuscripts that Nastaliq was first adopted by the Shiraz calligraphy movement and the dexterous calligraphers of that area, spent the later phases of its evolution and gained the special rules in Tabriz and rapidly spread to Harat and Baghdad that were the artistic and literary centers of their age. Nastaliq reached its highest flourish in Harat in the art-loving courts of the Teimuris and was then propagated to Khorasan and other parts of Iran. During the Safavids, Nastaliq experienced its latest evolution in the hands of prominent Masters like Mir Emad Hassani and Alireza Abbassi. After the death of Mir Emad, his pupils like Abdorrashid Deilami, Abu Torab Esfahani, Abdoljabbar Qazvini, Nuroddin Lahiji, Mohammad Saleh Khatoon Abadi and several others followed his style, which formed the Mir Emad movement in Nastaliq calligraphy and lasted for three centuries to the appearance of the movement by Mirza Mohammad Reza Kalhor.

One of the important divisions which could be attached to assortment of photos, is to separate them in the means of the extent to which they are adapted to the external reality and the amount of their allegiance to objective record of affairs. Since there has not been any significant and decisive delimitation between photographs from this point of view, with a general assortment based on it, its been attempted in this essay to separate all photographs in three groups of realistic, abstract and nonobjective, and signify the boundaries between them. With this aim the meanings of the words realism, abstract, and nonobjective is been over viewed briefly and in concision and then meantime recognition of their characteristics and designation of new borders is proceeded. The first group contains realistic photographs in which this category comprehends news and documented photographs, its main aim is to record the whole reality in a tangible and faithful way which is conveyed in a narrative frame and definite location and time. The photographer creates his own special world concordant with the nature and does his best along to record an image near to the outside truth and tries to record the actual reality authentically. The abstract photographs have been separated in the next group which recapitulation and elimination of supernumeraries in its characteristic sign of this group of photos. The photographer in this procedure tries to create an image farther from reality with disregard for cameras mirroring presentment and an optional perception, simplification and an unconventional view, and exact presentment of outside reality is no more completely the criterion of action and distinguishing the essence of case is impossible without calculation. The photographer in this grade is trying to establish a balance between his faith to nature and independence of the image which he creates. Nonobjective photos are set in the last category in which the picture itself is concerned as the object instead of the entities and the photographer cuts his connection with nature and recording the tangible reality and the picture is no more a site for demonstration of an issue from the sensible world. Nonobjective photo does not contain a recital of nature and real universe and no efforts are made in order to inspiration of an external image. Nonobjective in photography is mostly generated by affectation and technical interpolation and is virtually independent of the objective or seen reality and the communication between the photographer and camera is dropped to a negligible amount. The main goal for these photos is to exhibit the humans inner world without appealing to external worlds tropes. Indeed, on the other hand this should be noted that there couldn't be decisive and constant borders in separation of artistic procedures, because lots of artistic conceptions and values are changeable during the history and different cultures and construction of a catholic version for all times is impossible. Accordingly, this essay reviews the quality of viewing the photographic opuses mostly from formalistic and a general observation.

The emergence of the words of revelation brought about the art of Quranic scripture in the early centuries of Lunar Hejira Calendar. Such an art has an exalted position among the other areas of Islamic art because of the special importance of its contents and Moslems consider the same among the most beautiful styles of calligraphy accorded on special principles. The scripture belonging to Islamic period has a broad sense and would not be limited only to calligraphic creativity. It is instead an anthology of arts including calligraphy, illumination with a harmony of colors provided on a special series of papers bound and furnished with extremely fascinating covers. Page setting and decoration in our days has its roots in that period. The volumes of the holy Quran prepared in the age of Ilkhans are considered matchless works of art of Islamic period because of the type of page decoration, illumination and the designs incorporated in them in addition to their value from the viewpoint of codicology. However, they have not been graphically evaluated while the special aspects of page decoration in the volumes of the holy Quran prepared in the age of Ilkhans give rise to the necessity for the evaluation of such works as part of Islamic Iranian heritage of arts and a research into such aspects may provide for the identification of the principles behind such an art. Such an initiative may result in a deeper sight into such works and in the application of the techniques in the art of graphics. This manuscript is an effort for the evaluation of the aesthetics of page decoration in the volumes of the holy Quran prepared in the age of Ilkhans. It is in this direction that the trend of developments in preparation of the manuscripts from the holy Quran in a period from the early Islamic age to the end of Ilkhani period is first surveyed and a brief account is given on the arts of Ilkhani period specially scripture and book decoration in those days. The introduction of the weel-known scribes and illuminators of Ilkhani period and some of their works will follow our evaluation. The related tables give the specifications of the volumes of the Holy Quran prepared in the age of Ilkhans from the viewpoints of page decoration and codicology. A final account is a specific study of the elements employed in page decoration of Quranic manuscripts of Ilkhani age including the tools used for calligraphy, page decoration, illumination and preparation of designs and combinations of harmony of colors, page division, creation of exact proportion among the parts a page is divided into, the tools used in binding and in furnishing the volumes with covers etc. The research may provide for the application of such principles and elements in page decoration in our days. Cases of application of this study have been indicated in the practical project to the thesis.

In this survey, qualitative and structural transformation of Tehran's contemporary mural painting has been studied. The architectural reconstruction of the city of Tehran, by Pahlavi, was the first step towards the establishment of public mural painting, which was first meant to create a balance between the wall painting and its environment from a new perspective. In the Pahlavi era and previous eras, wall paintings were usually used with the aim of decorating an inside site (rooms, salons, royal gardens and etc.), but from this time onward a concept of urban design established and, therefore making murals in outside areas and public places became popular. Public mural painting in the city was divided into four categories: 1- ancient styled murals 2-formal styled murals 3- advertising murals 4- modern styled murals. The decorative aspect was the most important purpose in the murals of that time (1970-1977), advertising murals were popular, too. Although these mural paintings presented good techniques, but they were not properly in harmony with their environment and the spectator (the public for which they were prepared). After the Islamic revolution of Iran (1979), public mural painting became increasingly popular, in Tehran and other cities. Public murals of this era became intensively political and advertising. Islamic revolution murals were mainly supported by the public groups and organizations and there were no governmental control. These organizations aimed to convey their political and revolutionary ideas to people by the means of urban wall painting. This great emphasis on political and advertising objectives led to a decrease in the quality and material of the murals, and therefore destroyed the most important aspects of a city wall painting, such as, harmony between the wall painting and its architectural and natural environment. so many of these wall paintings presented a really weak techniques, such as, oil painting which was not appropriate for outside atmosphere and vanished or layered up soon after painting. During the imposed war between Iran and Iraq (1981-1989), the theme of wall paintings were most related to the war and Iranian soldiers, but they were yet weak in techniques and strategy. After the war problems of Tehran's contemporary murals came into consideration by the government organizations, but they took a wrong way and so many walls were painted in a way that was not meaningful or beautiful. In this time educated artists don't show any activity or presence in the scene of urban murals, because they thought it is merely advertising and it is not artistic. There were tow main style in the wall painting of this time: 1-decorative style (which was not really decorative or beautiful) 2- painting the face of Iranian or Islamic soldiers. From the 1380 onwards, by the establishment of wall painting group the situation changed somehow. A new trend has been seen in the mural movement and now environmental factors such as, the architectural structure, natural environment and the spectator must be taken into consideration before sketching a mural, in order to create more harmony with the environment. Through the recent years this movement has been developing rapidly. We can divide the style of this new movement into for categories: 1- decorative style 2- cultural, religious, public style 3- illusion 4- environmental advertising style.

Modern and advanced outlook in the cultural and educational landscape of the country provide especial place for the study and research in the field of Animation. Undoubtedly, with the most important subject in the present age i.e. the age of information is to have essential expertise for research, training, systematic thought and reaching to the highest aim in order to understand definitions of the communication process. As such, educational insight in the realm of research is the fundamental tool of most of the art subjects including animation. The present research has tried to focus on the educational and research processes carried out by post- graduate animation students at the end of their course. The research that presented in the form of dissertations, which after review, classified into three groups of technical-methodical, theoretical-educational and case study-descriptive based on the topics and then it has been put to the analyses. Review of the related dissertations indicates that research in animation field possesses much wider arena with its particular expansion as well as connection with other art subjects. Animation in all fields including university education can be considered as one of the important sources of safeguarding, compilation and transfer of information and can also be utilized in the programming for the growth and development of animation in production. Naturally, wider application ground, individual creativity and dynamism of research principles in educational and practical environment are expected with the use of accomplished researches that has been accounted and thought upon during the analysis of this research along with the acquired results: a)Animation subject has been profited by other audio-visual subjects and is being considered as one of the comprehensive art subjects, b)Educational methods and transfer of theoretical definitions during educational stages as planners for research and imperative study are serious and certain, c)In order to compose and compile the dissertation and even the research lay-out, research methodology especially for gathering themes and documents have considerable and special place. As key classified subjects, the dissertation topics of selected groups present the main findings to the university teachers and researchers in a way that their attention are devoted to the attainable achievements before compilation of the study. Technical-methodical dissertations, with about 55% impact have yielded 45% equivalent effects from educational, theoretical, case study-descriptive study. Theoretical-educational dissertations with about 60% allocation have yielded 40% equivalent effects from expertise, performance and investigation. Case study-descriptive dissertations with about 65% allocated impacts, have covered 35% effects from educational, theoretical study and skill and selection methods. Therefore, effects of three different groups in all available dissertations unveil the choice of students and supervisors and their related needs. Basic strategy for accessing to the documents for age-wise classification of viewers, expectations of industry, recommendation of a particular research, and presentation of innovative and basic researches emphasizing on the principles of art management would go along with the compilation.