HONAR-HA-YE-ZIBA
Year:2006 | Volume:- | Issue:27|Papers Count:17

In the past, cities enjoyed a high level of walkability, and walking for the various stratas of the society was considered as the main traveling mode inside the human settlements due to its low cost and accessibility.But after the Industrial Revolution and the dominance of cars in the cities, the role of pedestrian walking was scaled down.In the last decades, because of air pollution, policies to reduce the use of private cars and fossil energy consumption, the urban planning has oriented itself towards increasing the walkability capacity in the cities.Currently, numerous number of cities in the world have attempted to prepare pedestrian comprehensive plans, whose among main goals the following is enlisted: promotion of the quality of life, improvement of access and mobility, promoting the air quality, traned choices, economic vitality, equity, proper relationship between Transportation and Land use, funding and revenue, health and safety environmental sustainability.Since The government and modern cities are taking shape on the basis of encouraging pedestrian movement and creating walkable cities. An important example in tine with this new approach one can mention as a practical policy has set the goal of changing into a walkable city by year 2015.Since the street has always been the urban space that pedestrian can present there, throughout the history of human urbanization, street has undergone many changes. In a period of time it has distends from its past functions, and in another period all its functions were reflected in streets. Once it has been totally dominated by automobile and transportation, whereas in otter times the urban planners have been thinking of returning the previous identity and function of street. What is evident it is this fact the street as an important urban element, and as a stage for social activities, should be considered. And if we intend to have city for a more humane life, the first stage should include paying attention to the streets.The present article, which is the result of literature review section of the author's Ph.D thesis, intends to discuss the issue of walkability in the framework of increasing its capacity. In this regard, by having introduced the research methodology, and the theoretical framework, the functional role of the street as an urban space is analysed. Moreover, the pedestrian comprehensive plans of 14 European and American cities are revised and some criteria influencing the walkability issues are extracted to provide answers to the following questions:1- How can we design the cities for human and on human scales?2- For achieving a balanced human-oriented (pedestrian- oriented) ballanced city, what indices should be taken into account?Next, after the classification of those criteria, several indices for the evaluation of walkability are proposed in order to provide further presence of people in urban spaces.

This article is an attempt to specify the city gate as an important element in the collective memory of the modern city and to follow the "memorial roots" of the gate. In old cities, gates act as thresholds of transition between inner core of the city and the peripheral sectors.Showing common memories and city events, these places have confronted to modernization, population increase, industrial development, etc. By destroying the old walls in the modern city, gates have collapsed, but their place has always reflected memories. This fact could be an advantage for improving the city legibility and supporting people by improving the civil identity that encourages their local and civic pride. This article concentrates on the three aspects of gates: semantic, historical and functional aspect. Gates and their environment are places, which belong to public and the main purpose of their renovation would be to regenerate this feeling that one could be an active member of a society and have many souvenirs of his city's past. For this approach by reviewing the process of gate's evolutions, finding the memorial roots of the old city gates are practicable. As our case study has been conducted in Shiraz, we can consider the memorial roots of the old city gates in seven periods. These periods are Al-e-Buye (eight gates), Atabakan (nine gates), Safavide (nine gates), Zandieh (six gates), Quajar (six gates & three Kals), Pahlavi and contemporary period.In Shiraz of early 1930s changes have rapidly occurred. Since the gate nodes relay the new and old fabric of cities in a mutual connection, the revitalization of these nodal points has an important impact on the memorial framework.Accordingly, We can consider three different categories for the city gates memorial roots; formal, formal- conceptual, and conceptual-memorial. In their formal life period, gates are usually used as defensive and economical elements. Their place and name might be changed through this period of their life. In formal-mental period of the gates' life, accompanied by physical and historical ruptures, their name has changed into urbanistic and technical terms such as square, intersection, etc. Finally, and as an ultimate stage, in the mental-memorial period, gates have substantially changed; there are no more gates visible in the city but it is a common memory that has remained. Nevertheless, the important point is the effectiveness of the concept of old gates in the emergence of collective memories. This article first explores the city gate and its environs as a particular symbolic place in the city structure. Thereupon by reviewing the historic evolution of old city gates in Shiraz and the origins of people's collective memory, we can make a deduction in which we verify the importance of the concept of threshold and territory in the existence of the old urban fabric and its relation with the new one. As a final result, one can deduce that the relationship between the olden and the new urban fabric could be reestablished by maintaining the continuity of the memorial roots and reinforcing the sense of place.

The heart of all traditional Iranian cities beats within one way: Bazaar Bazaar is considered as one of the major economic, social, cultural and structural Basis of the Iranian traditional city. The Iranian traditional urban space witch has created the social interaction to be accepted into the cultural historical context and possesses highly important quantitative and artistic values. The outlook of modem science is at first on the efficiency, function, suitability and quantitative issues were to the point that such aspects secede as far as possible from all the definitions of quality. The feminine and emotional outlook, in terms of quality independent of quantitative matters - is necessary and vital. Our world may be compared to a web which is composed of woven fibers and sinews.The horizontal sinews represent rational deterministic interaction, which are in terms of logic genetic and restricted, while the vertical fibers are comply with issues of quality. The science and visions on modern urbanism have mostly developed and continued on the horizontal level. At the same time, the vertical fibers of the spiritual and mental must also be reconsidered in order to revive the more divine aspects. In this article, with a review of the definition of the Bazaar, its role and status within the Iranian city, plus an analysis of its various types, the main emphasis has been on the analysis of artistic, form and quality values existing within the Bazaar of Shiraz as a sample of a Iranian traditional urban space within Iranian cities.Shape and quality of physical and cultural urban space of traditional Iranian city have special values, which studying that can help us to find an emotional and sensual universe of our society and finally redesigning. Human mind configure the urban space and there for it configure in urban space. So the urban space is a physical reality which can show all of cultural and ideal values physically and mentally. In other words by urban spaces form we can connect cultural values, traditions, routine life and our individual experiences together. In this way, pictures especially, designs are one of the best lessons. Visional language can act in parallel or in symmetry by writing or talking language but perceiving and knowing this language to find its mystery and it's characteristics is harder.Because in this domain only the eyes of man is not enough. So to lightening the meaning and concepts especially those are behind out looking and appearance it needs to be analyzed to show itself perfectly to others.quality values of urban space Complete enclosure Having spatial hierarchy Integration between the elements of spatial organization with all part of it.Making spatial perception and creating a clarity image of the physical form.Using spatial qualities such as order diversity, complexity, and aesthetical qualities such as composition, rhythm, harmony Looking inside Answering to the climate and function Attention to human scale Form of open space is in order and complete square Balance compose between Architecture and urban Design Emphasize on human in design of space.

Following the changes in conditions and factors affecting urban expansion and urban development in recent years, residential neighborhoods have had special positions in the formation of cities. While sustainable urban development is now a major part of the literature review in urban planning, its aspects have not yet been fully examined at the level of neighborhood. This paper examines the evolution of Narmak neighborhood in Tehran as one of the planned sustainable neighborhoods of the city. The paper raises several questions and concerns about the expansion of new neighborhoods without considering sustainability criteria. The definition of neighborhood varies in different societies and cultures. Population is a basic indicator for the recognition of a neighborhood. Traditionally, neighborhoods have had population between 5,000 to 10,000 persons. However, there are many neighborhoods with population much higher than what traditionally known. For example, there are many such neighborhoods in Tehran, such as Yoosefabad, Narmak, Tehranpars, Beryanak and Gisha.Tehran is one of the largest cities of the world, with population of some 10 millions. Tehran spatial structure confronts many constraints for its future development. It is growing very rapidly, confronting many problems such as pollution, traffic congestion, and provision of infrastructure and public facilities. Narmak neighborhood is one of the earliest planned residential developments in the eastern part of Tehran, planned, designed and developed fifty years ago. The plan of Narmak neighborhood has worked fairly until now. It is known as an identified neighborhood. It can be said that Narmak has been a sustainable neighborhood, based on various principles and criteria, including its stable population.This study used empirical data and information through a, questionnaire method. The questions were organized based on economic, social, cultural, environmental and physical factors and indicators. Various housing blocks were chosen for the study and 100 questioners were completed. The research shows some important findings.Over 35% of the residents have lived in the neighborhood more than 30 years. Although the neighborhood is now an old texture, it has not confronted emigration problem, similar to many other old neighborhoods. Basic principles and criteria can be found in Narmak neighborhood, including identity, vitality, diversity, accessibility, provision of public facilities and security. Over 55% of the residents enjoy their living in Narmak. Over 59% of residents do not want change their neighborhood. In other words, the neighborhood can respond the needs of its residents. Over 95% of residents are satisfied with education facilities, 60% with heath facilities and 57% with sport facilities.Presently, new neighborhoods are shaped through the complex interaction between market forces, public investment and regulation. Increasing housing demand and need, the ideas of compacts cities and the necessity of density increase, the spatial distribution of population, the consumption of land per person, and the pattern of daily trips within cities, are some important issues affecting urban form.The new neighborhoods' survival depends on finding solutions to emerging problems. However, the most important problem and anxiety can be the subject of carrying capacity. Although increasing construction and population density in recent years can be assessed as a policy toward sustainability, it has resulted in considerable problems. The policy of density increase needs several requirements, including the provision of infrastructure and public facilities. Based on this approach, carrying capacity should be seriously considered towards establishment sustainable neighborhoods.

Based on the official census in1383; from 68/8 million Iranian population, 23/3 million have been resident in the rural areas. And also according to the statistical data, 4/8 million families are rural ones who live in 4/3 million residential units. Responsiveness of these needs and the necessity of responsibility to the people demands are very crucial regarding to the NO.31 Iranian basic laws. Due to natural population growth and increasing destruction of rural houses, it seems vital and necessary to build new houses in these areas. Now, The construction of one million new houses in the fourth developing program (2005-2010) seems inevitable. Rural vernacular architecture is used for configuration of synthetic environment and is based on nature, culture, society and rural earning method, and interaction between the man and environment. It includes collection of the most useful and stable ways of living and revenue in special and laborious places, transferable to future offspring.So it consists of how configuration environment, construction of buildings and inhabitants under people supervision and participation.In recent decades traditional society changes, and negative outlook toward native knowledge, have induced inattention to native arts and knowledge. But new view point in sustainable development and many correlation between housing and natural environment resulted in more recognition and attention to it. Besides through changing present paradigm in environmental synthetic planning this concept can influence on environmental planning methods. In rural areas designing techniques and houses materials are typical- Iy correlated with stable living in natural environment. In such a condition, various rules and principles are presented for designing spaces adapted to various geographic status of Iran.The planning of appropriate policy in this issue needs more accurate knowledge of the characteristics of these kind of houses, assessment of the past and present efforts of government in this ward. It also demands the knowledge of facilities and executive properties of the government. In this essay I try to assess the performances done in this issue in the past 50 years regarding to different governmental policies.The obstacles of rural houses supply, defects and abilities presented in our country, are discussed in the research. There are four parts in the essay. The first is about rural housing problems. In the second part, the necessity of careful rural housing consideration is discussed. The performances of governments about the rural housing in the past 50 years are debated in third section. The final part is allocated to the results of previous programs done in the past. Then some important issues are mentioned based on general approaches to housing development.

Ahuman-based approach to urban design primarily consists of two kinds of design strategies: 1) Urban design as form-placing process, 2) Urban design as form-making process, Professional designers deal with the form-making of urban spaces, while the form-placing is a vernacular and indigenous development of urban forms through time made by lay-people and non-professionals. The former is also known as formal, conscious design process while the latter is called informal, pragmatic, unconscious design process.Unconscious urban design process, being developed through a long period of time, has provided opportunities for people to satisfy their physiological, psychological and spiritual needs. Contemporary urban design practice now faces some difficulties to go to the same design process. Today, it is unlikely to force people build their own physical environments. What makes an unconscious design process attractive to design professionals is that it is thoroughly a human-based approach to form-placing of urban spaces.Observations show some fundamental differences between form-placing and form-making process. However, should urban designers consider people's needs and their behavior as their main agenda in the design process; that would basically be a common principle between form-placing and form-making process that makes them both humane. Thus, it can be argued that in order to go through professional form-making process, urban designers need not only to rely on a program, developed through urban design process based on human needs and behaviors, but also to review previous and existing indigenous, unconscious design process as a paradigm.Two main existing approaches now can contribute in the development of a humanistic approach to form making principles of urban spaces:1) A mechanistic, elitist and deterministic approach, 2) A neo-functional approach, The former focuses on non-indigenous dimension of urban space development; deals only with client's needs and attitudes; relies on individual needs rather than social aspects of people's lives. Technological development is the key principle in order to overcome physical, social and environmental problems. This approach insists heavily on the formal and aesthetic aspects of urban design, per se. It believes in physical determinism. It is a product-oriented approach and its final products would be something to look at. It is elitist and visionary in its aesthetic value. Reason and thought are the major criterion in its rational planning process.The neo-functional approach is empiricist in nature and insists on human sensory experiences of the built environments.It deals with users' needs and their aesthetic values and their everyday urban lives. It focuses on indigenous urban space development. Its main commitment is to create small urban places in order to live in.It sees urban design as a dynamic process rather than a mere final static product.It seems that a combination of the two approaches would be fruitful. Thus, a thoughtful selection of the visionary and the aesthetic aspects provided by the former and that of human and neo-functional dimensions of the urban design suggested by the latter would be helpful in order to make a "human-based approach" to urban design. Within this new approach two motivation based and culture-based views were recognized. The paper's humanistic approach was mainly focused on motivational bases of human behavior while it recognized the importance of cultural aspects as a by-product of a humanistic approach to urban design.

Lighting design encompasses all forms of light within La space. The object of lighting design is to consider how light reveals the form and color of the elements of a project, how the users visually interact with it and how best to provide the functional lighting levels that are required.Site lighting is a practical consideration as well as a design consideration in any new project. Good lighting can extend the use of outdoor environments, contribute to the safety of many areas and add charm and drama to the nighttime landscape. The field of lighting designs is a developed and specialized technology that is constantly changing with new discoveries in optics, light source and the understanding of light energy.The need for lighting must be established before it is designed or engineered.Lighting can be an inherent sharper of urban form.Handsome lighting in an area attracts large numbers of people to it for work or play. Amusement parks agencies demonstrated the emotional magic and attraction of artificial light long ago. Discussions in outdoor lighting tasks have not been defined. Indeed, a survey of the literature indicates little consensus on the importance of the various factors, involved in satisfying visibility requirements. It is not always known precisely how much illumination is required for each different mission. Selection of lighting levels is arbitrary and artificial light minimums have been rising as rapidly the national gross product. There is so much emphasis on the quantity of light that it needs remembering that usually people don't see illumination at ail_only brightness. Unless the observer is looking directly at the light source, he sees only the light retransmitted or reflected, by surface around him. This light is brightness not illumination. Imaginative and expansive lighting effects can do more than light the way for the observer. The influence of light on the culture and psychology of man is too great for it to be treated mechanically.The purposes of outdoor lighting indude:1) Improving the legibility of critical nodes, landmarks, and circulation and activity zones in the landscape.2) Facilitating the safe movement of pedestrians and vehicles, prompting a more secure environment and minimizing the potential for personal harm and damage to property.3) Helping to reveal the salient feature of a site at a desired intensity of light in order to encourage nighttime use of a particular environment.Intersections, decision points, crossings, steps, arrival points, etc. should be articulated in a manner that signals their presence, shape and nature. The illumination pattern should serve as a visual cue to what conditions may lay ahead. This section induces information useful for solving site problems. Included are definitions of term associated with lighting, lighting effect, characteristics of light and recommended levels of illumination for various landscape uses. The information induced here will help the designer focus on specific ideas about lighting and aid in the process of specifying fixtures for particular lighting projects.

The ruins of Persepolis is located on the Farvardin Plain, 50 km North-East of Shiraz. The significance of the site as an International World Heritage was distinguished by UNESCO as the first among the five selected historical sites in Iran and registered in 1979. The importance of the site has also been recognized by organizations such as International Councilor Monuments and Sites (ICOMOS), The World Conservation Union (IUCN), and International Organization for Conservation of Cultural Heritage (ICCROM) who have supported its reclamation and restoration during the past decades.Despite the many studies on the art, architecture, archeology and history of Persepolis, there is little information on the natural setting and the landscape of this valuable complex. There are still doubts about the existence of a wall and watchtowers around this valuable architectural complex. This is whilst discovering the natural landscape and historical boundaries are of the important factors in managing comprehensive environmental conservation.To deal with this problem, this article endeavors to presenta three dimensional model of the Persepolis landscape of the Achamenian period. A remote sensing data analysis, photogeology and field survey are used. Remotely sensed air photos and satellite imagery have been shown to be a valuable tool for the characterization of the archeological landscape and locations of collapsed structure.Interpretation of aerial photos in different scales and processing satellite data TM and+ETM-that are new methods of ancient site analysis-constitute the main method of this study. Using this technique and the difference in texture, size, color, shape and vegetation pattern, and the associations of these criteria with the possible place of the wall and watchtower are identified. The result of this study is indicative of a wall and watchtowers surrounding Persepolis. This could be subsequently confirmed with geophysical surveying and archaeological excavations. The advanced high resolution (both spectral, and spatial), remote sensing data (ASTER, IKONUS, IRS, etc.) and hyper spectral surveying can assimilate other types of archeological data to process analyzing, and better understanding of the features, their patterns, textures, size, association, and so on and will help to deal with the issues of site characteristics. The result of this study using different age air-photos and ETM+ images are indicative of the following features: - The present Persepolis site is small sector of vast area where the capital city (the Parse) and satellite villages had been located.- Misleading in buffer zonation and consequence deformations have been caused sever damages and destruction of archeological residues that where likely remnants of original structures.- There are some remnant and residues of guard wall and watchtowers surrounding impressive palaces of Achaemenian Empire, the Persepolis. In order to precisely define the location of the irrigation system, housing patterns and the social life as reflected in the setting of the various elements of the Parse and the aerial extension of Persepolis, further surface and subsurface studies are recommended. It is necessary to use new geophysical and spectral techniques to define the aerial extension, the architectural structure and construction patterns of the ancient civilization on the peripheries of Persepolis platform. Such studies may clarify the many aspects of Achaemenian period, and reclamation or reconstruction of Persepolis during ancient times.

The Islamic revolution art is an artistic movement which appeared contemporaneous with the Islamic revolution in 1979, in Iran. This artistic movement has many kinds, such as Cinema, poem and literature, theater, etc. The Islamic revolution painting is one of the most important parts of the Islamic revolution art, which started by the Islamic thoughts in Imam Khomeini's words, and grow up by the young painters such as Habib-ollah Sadeghi, Naser Palangi, Kazem Chalipa, and Hosein Khosrojerdi, Mostafa Goodarzi, Hamid Ghadirian, Iraj Eskandari, Morteza heydari, Mohammad Ali Rajabi, hosein Sadri, Abolfazl Aali, Mostafa Nadarloo, Ali Vazirian Sani. About all of the most important papers and books about the revolution painting and its painters' opinions, were passed. About two or three of the references (the works of Dr. Zahra Rahnavard and Mohammad Aveeni) are original, and the other researchers were reviewed them in their works. SpecificationsThis Paper passes on the researchers' opinions about this painting, then analyzing and assessing the sample cases. The review shows that the revolution painting has tow specifications: Concept, and Form. From the view of concept, the creating factors (such as Islam, revolution, war, Iran, and the human concepts) and the concepts in the whole of works are assessed. About form, the researchers talk about the factors (such as artist's identity, analytic view, concept of work, and the social impressed) and styles. Methods and MaterialsFive painters (Sadeghi, Goodarzi, Eskandari, Ghadirian, Chalipa ) and five works of each of them (in all twenty five works) are selected randomly. Then the cases analyzed for Concept (Contain) and Form (Style). Three tables are introducing the cases, talk about the main concepts and styles: All of the cases areintroduced in table 1. The main and the other concepts  (and theirs factors) are shown in table 2. the main style of the cases, are in table 3. Discussion and Analyzing In this section of paper, we deal about the dimensions of cases, in table 4. Analyzing of the main and other concepts, are shown in tables 5 and 6. Creating factors of concepts, are discussed in table 7 and analyzing the styles of works, which are the other parts of this discussion, are shown in table 8. Islam, Islamic revolution, forced war (Holly Defense), Palestine and its Intefaze, Iran and Iranian identity, are the concepts of the Islamic revolution painting. Also Realism, Symbolism, Subjective Realism, and the Iranian traditional painting (such as Miniature and Ghahve Khane painting) are the Styles of this kind of painting. ResultsThis study shows that1. % 60 of works had areas less than two square.2. In the half of cases, the Forced War (Holy Defense) is the main concept, and the human concepts are the second concept.3. Also, from the view of form, %60 of works in the Symbolism, and the Realism is the second style of cases.

The use of "Enlarger" at least dates back to 1868. Naseredin Shah's photo lab had enlarger units and Agha Reza's work, shows he had used them in 1870. Some had erroneously documented that the first enlarger unit was introduced to Iran in 1887. In this article, issues of photography procedures, training, photographic paper productions by means of albumen and varnish, personal life, works, style and many contributions of Agha Reza for the first time is presented and documented. symbols of the modem western world began to make their oppearance in Iran during Mohammad shah Qazi and Nasserdin shahs rule. photography is one of these symbols. Queen victoria and Russian Tsar, Nikolaj I, each sent a camera to Mohammad Shah. The Russian Nikolaj pavlov and the French Jules Richard (1816-1891) used them, respectively in mid - December 1842 and on 5 December 1844, to record the image of Mohammad shah, Nessereddin Mirza the heir to the throne, and his sister, Ezatoddoleh on metal plates. None of the pictures taken by pavlev and Richard are available now. However, in 1880 and 1881, Mohammad khan kamal-ol-Molk Qaffari painted a portrait of Mohammad shah and two childhood and early adulthood portraits of Nasserddin shah in oil using as model some of the pictures taken by Richard in that period. Later in the early Nassereddin shah period, a number of westerners took some photographs of Iranian people and Landscape and upon the establishment of Oar - ol- Fonoun (House of skills), some of the instructors of the school became interested in taking and developing once the school was established, the first group of western instructors set up a photo studio, a drugstore , and a physics and chemistry laboratory there.Photography became part of the curriculum of the chemistry Department at Oar - 01 - Fonoun since 1860 and soon found prominence in the Nasseri court. A professional photographer by the name of Francis carlhian (1818 -1870) was invited, at the order of Nassereddin shah, to begin the scientific instruction of photography in Iran. He became a French instructor at Oar - ol- Fonoun as well as a photography tutor for one of the shahs servants by the name of Aqa Reza. Aqa Reza (1843 - 1884) the son of Mirza Ismail Jadid - ol - Islam, was the first Iranian professional photographer who learned photography from the French photographer, Francis Carlhian.The brief life of Aqa Reza , his learning process, as well as his photographic achievements and printing techniques have been reviewed in this article. Aqa Reza was the director of the courts photo studio at Golestan palace and later, made his apprentice, Abbas Ali Beiq, to set up a photostudio for the public on Jaba khaneh street. The use of " Enlarger" at least detes back to 1868. Naserddin shahs photo lab had enlarger units and Aqa Rezas work, shows he had used them in 1870. some had erroneously documented that the first enlarger unit was introduced to iran in 1887.

Iranian paintings beside Iranian literary texts, play an important role in Art of this country. In so many cases we have seen different sorts of effects done by accompanying painting beside literature. In poring over these paintings, a kind of reciprocal and adherent viewpoint is apparent between literary passages and drawn pictures, which all shows the inevitable features of conventional Iranian paintings. getting this viewpoint, is involved to getting all the aspects of Iranian literature and also Iranian culture, unless, no judgment over these paintings is acceptable. It means, they are not distinct but also not dependent. Relation between Art and Literature caused a close relation between different aspects of these two styles. it means whatever is indeed, and whatever is belonged to painting, has some common angles with its literary artwork. The way of illustrator's handling literary matters such as literary symbols - is one of the outrageous features of Iranian conventional painting which some of them have more transferor power than others, and plays more significant role in texts and pictures. We really can not choose some painting as " the betters" but some of them rarely are really similar to what we call "the best" the best of our dreams . the best of what we expect to be the best... In this study, it has been tried to outline some of these common symbols and through a symbolistic consideration a sort of review and revise on two conventional Iranian paintings titled as" Farhad is carrying Shirin and her horse on his shoulder "and" Shirin and Farhad's date on Bistoon mount" has been done. These two special artworks are chosen due to their significance in symbolism of Iranian culture and Iranian literature. The style which painter has chosen and the effect of literary text, speech symbols, the way in which these symbols has entered to mentioned paintings and also similarities with their literary peers in studying these paintings were considered. How the painter managed different subjects, how he did this composition, and how he considered all the aspects in their best situation.In this study, common allegories are also separated, tried to be realistic, studying different subjects from the outer angle, far from all the fanatic beliefs. beside being Iranian, it is tried to have a greater view on these symbols and criticize them somehow and appreciate them in another way! The field of research on these paintings was so bigger than everybody expected. It took so much time to distinct paintings from each other, classify them by period and emphasize on worth-mentioned points! It is tried to become near to the main expected questions which have been asked before or by reading this essay would be questioned. the answers are all tried to be sufficient  for the amount of this case and also the preparation for summarizing what is necessary to tell is done. Eventually, it's mandatory to mention some key points of this study in brief.paintings and their similarities with their literary peers in studying these paintings were considered. It means, a kind of mutual study is done and progressed to cover all the needed aspects of this subject.

One of the most important issues in 20th century was women's struggle for their social rights. By having this right, the western culture was forsed to reconsider the place of women in the society.After this process, many playwrights, such as O'neill and Mamet, trying to attention to the new place of women in the society and reflecting it in their plays more than before.Samuel Shepard Rogers (B. 1943) who is one of the famous American play write, actor and screen-writer has been always as one of the most distinguished artist during past twenty years. He has written fourty plays such as "the tooth of crime (1972), "buried child (1978)", "fool fo love (1979)" and "true west (1980)". He acted in some movies such as "fool for love" and won Pulitzer prize for his play named "buried child". He was one of the playwrights who in his play named "Fools for Love" has paied attention to the issue of gender and the role of women in society. He In this play he portraits the relationship between "May" and "Eddie". According to him, May with traditional characteristics becomes an independent woman.This relationship between May and Eddie and also the way that "Martin"(May's boyfriends) thinks, provides a good opportunity for the readers to discover different views about gender and women's role in the society.The issue of gender in resent years has been one of the most important subjects for both male and femail play writes and has had a great impact on other playwrights. One of the important and determining features in the 20th century was the movements performed by women (and even sometimes by men), in order to change the traditional role of women in the society, and reviving their major rights such as voting right, having access to education, and being able to provide suggestions in married life, issues which used to be monopolized men. These movements provided a new aspect of women, and resulted in the fact that women were no longer the "inferior sex" and women became a basis in the grand decisions of the society, rather than being subordinates to men. Taking the fact that the art of theatre is a direct reflection of the social facts, and mainly deals with human beings and their relations, this research has concentrated approach toward gender in the drama "Fool for Love". The major question is about the reflection of gender in this work, as a token of the contemporary American drama, and the approaches taken by the playwright to achieve his purpose. Choosing Samuel Shepard for this study is based on his plays, especially the play called "Fool for Love", that is considered as one of the most important plays, not only in USA, but also in other regions.There are different theories related to the gender issue such as: Biological theory, Structural- Functional theory, Social Learning theory, Cognitive Development theory, Gender Schema theory and Symbolic Interaction theory. We chose Symbolic Interaction theory as the theoretical basis for this research.