HONAR-HA-YE-ZIBA
Year:2006 | Volume:- | Issue:26|Papers Count:14

The orientalists and thinkers have had very important researchers and discussions in Islamic art during two hundred years ago. But there are some differences and contradictory points of view in their researches. Some believe that the Islamic art had mystical and theosophical base that we can find in the texts of Ibn Arabi, Sheikh Eshragh, Maulana Rumi, Ibn Sina, and. Another group of thinkers say: "There are not any Islamic elements in Islamic art" and some others think that the traditionalists believed mystical base, didn't have sufficient evidence and historical reasons for their views. Here, there is a very important question: "Why do the researchers have difference and contradictory in Islamic art?" To me, there are some factors in this affair: First, absenceof sufficient sources and references for confirmation the philosophical and theosophical bases of Islamic art. Second, there are not any methodic and academic studies in Islamic art, especially in Islamic philosophy of art. Third: engagement of some theoretical artistic base for confirmation of theological problem (as the last day, prophecy, revelation of prophets and dream). Indeed, in west, there is a clear history of philosophy, especially philosophy of art, from Plato to Heideggar. But we don't have such history in Islamic thoughts.In this paper, I try to describe some concepts and philosophical base of Islamic art that some philosophers have discussed in their texts. (As faculty of fantasy, imaginal world and taste, especially in Imam Mohammad Ghazali's thought in his important texts such as kimya-is a adat, Mishkatal anwar and ihya ulum ai-din). He has used a modern conceptfor describingthe powerof fancy or imagination, nine hundred years ago: "The Lantern of Imagination" that is a very important and interesting point in Islamic philosophy.Although Moslem philosophers have used these artistic principles to prove some theological principles like prophecy and the Last day however these studies and researches made the important theoretical bases in Islamic art. At this time it seems necessary that Moslem researchers decipher these bases and collect Islamic art philosophy. The thought of Ghazali is important because he has used artistic examples in many situations, for example Chinese and Roomian Painting in Ihia-ol-Olum that has been used by Maulana Jalal al din Rumi in the first chapter of Mathnavi, two hundred years later. Gajzali's thought is important in this research because although he has been influenced by philosophers that live before him, like Avacina and Farabi, but he with his anti philosophy approach has attempt to adapt most of his researches to Islamic and Quaranic bases. His tendency to ''taste'' faculty, increases the important of his arguments in art theoretical principles.The final purpose of this essay is research about two basic and important concepts in Islamic philosophy of art: first, the levels of Universe in Islamic philosophers' view and its place in theoretical principle of Islamic art. Second: discussing meaning and place of imagination and taste in Ghazali's view emphasizing its artistic function.  

The field of urban design was initially created in 1960's aiming at a search for quality cities and urban spaces. Such a search is still going on everywhere with the dual purpose of functional and aesthetic goals, but with different degrees of results. This new discipline and profession has a shorter history in Iran. It was in 1970 that the first program in Urban Design was established as an specialization area within the Masters Program of Urban and Regional Planning. The content of this program was, to a large extent, similar to that of the American models, but the quality and mission was never reached to those standards. In spite of numerous experiences during the three decades of the introduction of urban design into our society, no desirable results have been produced and no successful examples have been presented. The new neighborhood of Shushtare-Now in Northern Khozestan, the new city center of Shahestane Pahlavi in Tehran, the reconstruction of Ferdous town in Khorasan province, are examples of the pre-Islamic-Revolution period; the reconstruction of war-damaged towns of Khraramshahr, Abadan, and Ghasre Shirin in West and South of Iran; the reconstruction of earthquake-affected towns of Roudbar, Manjil and Lowshan in North; the New Towns of Hashtgerd, Pardis, Baharestan and Sadra in different parts of the country; the City Beautification activities in almost all towns and cities; the urban regeneration projects in the historical cities of Yazd, Isfahan, Mashad, Shiraz, Tehran, etc.; the new development projects such as public housing projects, city entrances etc. are all examples of urban design failures in Iran during the last three decades. Lack of effective evaluation, particularly post..; construction evaluation, of the projects has not provided the context for any improvement in the design process. It may be suggested that lack of an exclusive and inclusive institutional and professional status for urban design has been the most determinant factor against the establishment and promotion of a sound and effective profession of urban design in the country.This has led to a confusion and lack of professional identity of the field. In this paper, two urban design cases (Navab project in central Tehran, and Ammar Yaser in Qom) are ana- Iyzed, evaluated and compared against certain urban design criteria, and then by rejecting the design approach used in the Navab project, general conclusion is made on the reasons why the majority of urban design projects in Iran have failed in the past. On this basis, a new vision/approach is introduced. Such an approach, as a sound new knowledge base, is believed to change the status of urban design collaborative-participatory type of urban design.The eventual goal of this kind of urban design will focus on the promotion of the quality of urban environment. It is only through this kind of urban design that it can play its vital role of inflicting the greatest impact on the nature of our cities and city lives.

The city and its elements, through exchanges they make (including mass, energy and information) face with transformation. This transformation entails shortages, problems, difficulties, limits and needs. Resolving the shortages and needs and solving problems and difficulties initiates with the establishment and determination of the goal. By referring to the shortages, needs and limits the instrumental goal, and by referring to the problems and difficulties, the' fundamental goal is established and sets the city progress in a determined track. Considering this issue, it is crucial to establish and determine the goal in the planning process. Studying and inspecting the city by the systematic approach, sets the city in different levels. Accordingly, facilities, capabilities, abilities, shortages, problems, difficulties, limits and needs of the same level of the city (hierarchically) are put as the outcome. In addition to these, demands and needs are determined based on estimations and assessments. The goal would be established and determined within a hierarchical process. The Input of such system is the outcome (products and patterns) of other two levels in the planning process. These levels are the upper goals and the identification level and identification of city division system. In this article, the process of determination and explanation of the goal as a method is presented. By applying the features, aspects and characteristics, the goal is processed correspondingly. Features, aspects and properties are provided by the facilities, demands, capabilities, abilities and needs. Resources, implements, agents, time, place, quantity, method, quality and patterns are the features. Each feature has physical, economical, social, cultural, psychological, security, natural, quantitative and qualitative and other aspects. Markers, attributes, characteristics and traits determine the dimensions. Determination and explanation of goals is done according to the dominant value system of the city. The values systems are framework, which, coordinate and sort out the goals with respect to the superior ones. Sorting continues by prioritizing the goals as the input for the other levels of the city planning process in order to be laid into operation.

In recent decades many development organizations and institutions in the global scale have focused on the promotion of participatory approaches to encourage bottom-up planning and empowerment of communities so that they take more control of development activities. Community based planning provides alterative to traditional top-clown or development controlled planning and decision-making and emphasizing comprehensive, multi-sectoral approaches to complex and persistent urban problems. This approach has led to a proliferation of community based system of planning and management initiatives in cities and towns across the country. There are many definitions of 'community' and 'communities'. It is important to note that people define for themselves which communities they feel part of  external or arbitrary forces cannot impose this sense of belonging. "The concept of community implies interaction, identity, mutuality and shared values" (Bezzina, 1998). Many of us identify as part of more than one 'community'. It is often said that community-based planning is very difficult to achieve in communities for its very nature of bridging governmental jurisdictions and turfs of all other local organizations. One possible solution to this dilemma is to create either a private non-profit umbrella organization comprising all the local organizations- local governmental entities and all other private non-profit organizations. Creating such an entity and empowering its board to see to it that the interests of the individual member entities' "become secondary to the interests of the overall community would be a great implementation asset. Explore in related theories, ideas, attributes and concepts of community based planning reveals that mentioned approach have several characteristics such as social interaction, facilitator, process oriented approach? Resident-driven, Asset-based, widespread adoption of participatory and 'people centered'. An alternative approach is asset based community development, which involves identifying the capacities of individuals, associations and institutions and mobilizing these for development purposes. "As communities attempt to build a healthy future, they must often struggle against a development perspective that encourages them to see only what happens when they focus solely on what is missing in their community and they know that this approach does not produce positive results. In fact every community has needs, problems and deficiencies; the choice for community groups is whether that is all they want to focus on. Like a glass of water filled to the middle which can be viewed as either half empty or half full, a community can be seen as a half empty place comprised of clients with needs and deficiencies or as a place half full of citizens with capacities and gifts to give" (Kretzmann and McKnight, 1997).According to these characteristics, community based planning in ultimately led to sustainability in decisions at all levels of planning and management.The purpose for which community-based planning is conducted could be: to make plans more relevant to local needs and conditions to increase community involvement in provision of public services, due to lack of capacity of government agencies to increase people's control over their own lives and livelihoods.Present article try not only to show paradigm shift in the urbanism-why and how- but also to explain causes of appearance, and define the capacities and characteristics of Community based planning approach.  

Focus group discussion (FGD) is a systematic method to comprehend social issues and find intervention patterns through propounding some questions with specific vision. Focus groups are a qualitative research method that uses group interviews and group discussions to learn about a topic. The individuals conducting the research select the interview topics and utilize a moderator to guide the focus group participants through the questioning to provide data. After the focus group adjourns, researchers summarize data from the focus group discussion. Before beginning focus groups, discussion groups, or round table, invest the time to clearly articulate the resions, expectations, and intended outcome for using a focus groups format. One important item to remember is the purpose of focus groups should not be to arrive at a consensus or decision, but to gather information to research. The focus group report should include the following: Introduction of discussion topic (in our case Informal settlements and poverty in neighborhoods) Description of the study (i.e., number in focus group, where held, and when) Study finding (main points), and Recommendation /Suggestion.Nowadays, this method has useful effects in finding target group's views, beliefs, and ideas. The mechanisms that cause the creation of informal urban settlement can be put in a "cause and effect" equation that is relevant to many socio-economic conditions in the city and the region. In other words, the emerging informal settlement in the urban structure, indicate some ill economic structure in the region. It also shows some chaos in the urban living style there. If we want to analyze the reasons that ended in the creation of these informal housing problems, may be we can indicate many causes as the following: 1- Social Structural Factors2- Organizational Reasons3- Lack of Supporting and Participation SystemsIn this case, preparing public meetings and inquiries with target groups and moreover making deep interviews are usual methods. This article tries to review the residents' problems in one of the informal areas settlement of the city of Bandar Abbas that is one of the most vulnerable informal settlement areas in the city. In this urban area, we attempted to form some "discussion groups" for discussing different needs of the residents of this area.The aim was to discuss possible ways of development with the people directly in order to prepare for setting "development strategies". This is important to set and finalize development plans and projects for the quarter. The proposed strategies were discussed with the "discussion groups" and been revised to meet their desires. After these discussions which ended in revising some aspects of these strategies, the finalized strategies were discussed ones again with official of the city authority and other authorities on provincial level.The results have been shown that there is a high rate of adaptation between studies and accepted beliefs by local people, which planning movements were shaped on. Moreover, it can be a relying framework in programs. The most important point in using this method is we can find out fundamental problems in local communities such as lack of local authorities and enabling target groups.  

The sense of place can be defined as people's cognitive image and their feeling toward their environment. The sense of place makes an inherent relationship between people and place, so it can bond people's feeling with conceptual field of environment. For some particular people the sense of place is a factor that converts a space to a place with certain environmental and behavioral features. It makes people not only feel an environment comfortable, but also support people's intended cultural field and their social interactions in a certain place. The sense of place helps people to find their identity and remember their memories and experiences. Development of human societies and changing the ways of life make architectures and designers pay more attention to the qualities of spaces and built environment. Therefore the role of designing as an equipment to form life environment and response human needs, become more important. Many researches have been done about interrelationship between space or built environment and people's behavior and cognitive maps. These studies also show that the environment rather than physical elements is composed of massages and meanings that people understand them and judge them by their roles, expectations, exciting and other factors. After this perception and judgment people find a whole sense toward the certain environment, this sense means the sense of place. The sense of place is an important factor in coordinating people and environment by make better use of environment, satisfaction and finally creates place attachment and encourage people to stay more in the place. Poets and literatures describe life and events by the character of the place. These descriptions show that the sense of place is a collection of personal and social stories and narratives which happened in the place. As designs and qualities of space influence on the sense of place, the concept of the sense of place and some significant factors that can influence on it have been explained in this article. It also shows that physical attributes of environment and users' cognitive features excessively effect people's feeling toward a space. Place and space have different meanings, but the attribute of the place that this article want to demonstrate is more specify and is incorporated with human values. To explain the concept of the sense of place, its meaning, the way that different approaches interpret it, its scales and its important features have been described. Finally the article suggests a model which represents how this factors function. This model can also help designers to be aware of the influences of architectural spaces on users' sense of place.

On Tuesday, 23 February 2004, at 5:55 local time (2:25 UT), a destructive earthquake of surface wave magnitude Ms 6.5 struck the Zarand region, Kerman province in Iran (exactly 14 months after destructive earthquake of Bam on December 2002). According to official figures, about 600 lives were lost and several thousands injured. Similar to most earthquake occurred in Iran in the past, this quake struck a relatively spares area. However, there are hundreds of reinforced concrete and semi-engineered (confined masonry) buildings in the region whose behavior, particularly at the epicenter area, is quite considerable. In general, the behavior of the existing structures to the quake, gave us some good lessons to be releamed.The same magnitude and the extensive damages caused by Zarand earthquake like Bam earthquake illustrate many similarities between these two earthquakes. However, the behavior of buildings against Zarand earthquake is completely different from Bam earthquake. Destruction and details of damages indicates the influence of economical, social and cultural aspects of the society on the quality of buildings construction. Study of a number of earthquakes in Iran such as Manjil-Roudbar earthquake on 1990, Ghaenat earthquake on 1997 and Bam earthquake on 2002, shows that amongst the different ages of the whole process of design and construction (execution), supervision during the execution stage has the most important influence on the quality of construction and behavior of the building against earthquake.This research has studied the relationship between the damage of a building and the quality of construction.This investigation has demonstrated the role of building regulations, national codes, materials quality and supervision in the resistance of buildings against the earthquake loads. Lack of supervision and traditional methods in the construction of buildings have been the main reasons for the extensive destruction and damages of the buildings in the region. A number of papers published by the author (based on the large and extended field study) after Ghaenat earthquake and Bam earthquake illustrated the role of supervision on the quality of construction and as a result the behavior of buildings against the earthquake. There is a major difference between this research and previous studies on the damages caused by the above mention earthquakes. It relates to the style and the method of construction in the region. Lack of appropriate materials and skilled workers are the main reasons for the damage and destruction of buildings in the rural area. However, local materials and traditional construction methods in some areas (and sometimes shortage of financial resources) have resulted ill-structured design and construction in the area.This research has explained the reasons for the damages of buildings based on field investigation and review of a large number of case studies in the villages that have been destroyed by Zarand earthquake. In this research, construction of different types of building from early stage up to the completion of the building has been studied and the role of building codes such as Iranian Building Regulation No. 2800 for Design of Earthquake Resistance Buildings has been investigated. The conclusion of case studies indicates that technical supervision can effectively reduce the damages of buildings. The research has illustrated the reason for vulnerability of the buildings in Zarand region under the earthquake and presents the modified methods to prevent extensive damage to the buildings in future earthquakes.  

About 1960 a new reform happened in Iran and changed the old agricultural system. This reform had two ended results. From one side, farmers found their farms and became owner, and on the other side the agriculture production decrease. These events developed the cities and immigration to them. Villages depended on the cities after the reform, so it changed the fabric of the villages, the elevation of buildings and brought new materials to villages. We study some of them in this article. 1. The Revolution of Villages in IranIn the past time, a king was the owner of country and the people who live there. So, They sent the main part of agriculture's income to country's treasury. In that time, farmers lived in small homes that were situated on rocky and steep land that was impossible for farming.2. land Reform Land reform occurred in 1960 as a result of governmental reformation that named "white revolution". In this reform farms were bought from great owners and gave them to farmers through different ways. We can analyse it from different views.. Land reform: a governmental revolution to prevent a people revolution.. Land reform: oil economy instead of agriculture economy.. Land reform: necessity of new era.3. The Results of land Reform. After the land reform, agricultural economy was not as important as the past, so the owners invested in cities and it helped to develop the capitalist system and servicing system.. Agriculture without any management system.. Become affiliated to imported agricultural production.. Migration and developing cities.4. The Influences of land Reform on Transformation of VillagesWe explain these influences in three parts.. Villages' transformation:After the land reform a new transformation began; from historical place to new place that was nearer to the roads.- Villages become affiliated to the cities.- Modern technology and changing the connection between village and water resources.- Fabric deterioration and gradually renovation.- Don't need to fortifications. .. Village development:-A village, two centers: the transformation created a village with two centers. The old one with mosque, shrine, headman's house..., and the new centre with new houses and new buildings. - Entering cars to village: the new allays of village is as wide as need a car, and this new part preferred flat lands to steep lands.- Bigger homes, bigger village: the farmers had their farms and they could makes their homes on the farms, so they wasn't obliged to live in homes as small as past. It made village bigger than before the land reform. . Changing the face of villages: The influence of land reform on the face of village can be studied through three categories of buildings: - Farmers homes: after land reform, villagers imitate city constructions to build their homes, so the new materials with a very low quality change the face of village.- Public buildings: public buildings such as mosque and bath repaired with new material (concrete, stone, iron beams...).- New buildings: those new buildings that came to village after land reform (schools, clinic...) usually has a modern elevation that was quite different from the old building and sometimes imitate by villagers to build their homes.  

SeljUk and Il-khanid periods are two turning points in Persian architecture. During these long periods of time new plans and new kinds of decorations came into existence using two mediums: stucco and brick. One of these decorative methods is called "brick-ended plugs" which the present study is going to discuss. There has been no deep research about brick-ended plugs. Some reports in this area are as follow:1- Donald Wilber in his book "Islamic Persian Architecture during Il-khanids" has reported this kind of decoration for the first time.2-Arthur O. Pope in the book "A Survey of Persian Art", vol 3, part 40 has given a very short explanation about brick-ended plugs.3-ln the book "The Decorations of Persian Architecture" brick-ended plugs are mentioned as a kind of decoration as a part of brick decorative.Brick-ended plugs are a kind of decorative tuck pointing which is used horizontally or vertically in rectangular spaces between brick ends. This decoration is used from late Ghaznavid era till the end of Il-khanid period. The latest type of this kind is found in Sang-bast from Ghaznavid period but we can see other examples in many other buildings like Masjid-e-Jame Isfahan, Barsian, Ardestan, Oshtorjan, Golpaygan, Gazvin, Varamin and in many other places. While ornamental brick working mostly takes a space of 3-4 cm in width and 3-6 cm in length, it remains between the ends of two adjacent bricks. This space is filled by hard plaster, lime mortar or even terracotta. The motifs were cast or carved on these mediums. The variety and aptness of the designs are astonishing. Although some of the motifs could be seen in other architectural decorations but most of them are specific in this method.The motifs could be categorized into 4 groups: 1-Monograms in Cufic style: there is not much variety seen in this style. Holy words like "Allah", "Mohammad" and "Ali" are mostly used beside the inscriptions which are made by joining all brick ended plugs on the whole surface of the wall.2-Geometric patterns: The overwhelming principle of decoration is the geometric patterns that appear in the purest forms. There is not much variety seen here and patterns are made up of the combination of two elements such as "the line and triangle", "the line and the circle" or "square and triangle" and so on.3-Floral ornament: floral patterns are mainly used in trellis works, Four-platted flowers, foliages, simple leaves and tiny arabesques.4-Fret bands: the great variety of available shapes ultimately resolves itself into long bands which width, length and direction are either imposed by the lines of the architecture or the bands surrounds each brick and this is fastened at each end by a brisk little knot. Brick-ended plugs have been used during a long time in all kinds of buildings form the late of Ghaznavid period till the end of Il-khanid era. The facile production and simple motifs used are the main reasons for this long time of usage. The white color of brick-ended plugs bring a kind of balance among the colors of bricks in the whole wall surface, and also their simple motifs hold the eyes from outside of the building to the complicated decorations inside, and this is what they really mean: A good balance between stucco and brick decorations.  

The introduction of western - style educational reforms in early Qajar era opened the door to artistic innovation in Iran .The royal house of painting was among those institutions to benefit from this innovation. By the second half of the nineteenth century, innovators introduced a new system of art education based on European models. This interaction promoted a transition from the age- old apprenticeship system to one that included artistic training in a European style academic context. A 1278/1862 announcement in the state new paper, Rusnameh Iran, inviting students to study painting exemplified the new tendency to equate art with schooling. Italy and France served as a model in the Iranian quest to academize art in Qajar period. Abu'L Hasan Ghaffari (sani'al - mulk) played a critical role in setting up the first painting school. The establishment of The Dar al- Funun in 1264/1851 was the driving force in the later dissemination of art training in the European mode. The most significant outcome of kamal al-mulk's trip to Europe was the establishment of Iran's first academy of fine arts, the madraseh - i sanayi mustazrafeh , in 1327/1911 . This article uncovered documents that provide a clearer idea of educational reforms in Qajar painting. The act of copying and producing replicas had been a dominant feature of the traditional karkhaneh system for centuries, but the motivation for the practice was different under the new system. Iranian artists of this period by replicating European paintings were not only experimenting with styles, methods, but were an essence striving to come to terms with their ambiguous relationship with Europe and to redefine themselves within a chaning global context . Portraits rendered in the European style as well as those painted from photographs, slowly began to overshadow earlier workshop paintings and designs. Long with European artistic styles, the science of photography gave impetus to the Persian artists desire to depict his subject as precisely and accurately as possible. The Daral - funun generated a new set of criteria for assessing the qualifications of its instructors. The school's administration gave preference to European educated Iranians: knowledge of conventions of European painting. The master painter was no longer elected by consensus of the members of his workshop, but was selected arbitrarily by the shah. Ali Akbar Muzayyin al - dawleh was the first master painter appointed through the new process. Although the apprenticeship system was challenged by the infiltration of European techniques, it was never completely replaced. No single pattern of art training and production prevailed. However, the introduction of academy system training eventully broke down the structure of the age-old royal karkhaneh system within the royal context. Three critical reasons for this breakdown of the old system were: 1-A mark decline in architectural programs; 2- The rise of photography: 3- And the institutionalization of the lithographic print.  

Contradiction or coordination of the holy art with different aspects of technology is the subject of this article. Anxiety about holy dimensions of life to be scratched with this phenomenon causes the position of technology to be studied in different fields. Discussions about art and technology in the world and also holiness and the holy place, are the preludes to the aforementioned topic which facilitates understanding the origin of holy art and its method of statement. The vastest, the most common and merciful holy place is the natural environment created by Almighty God which is the manifestation of truth and presents the most holiness. It is also possible in the houses of worship, for example Masjed-al-Nabiand Masjed -al- Heram, to pass from one position to another and from the earth to the heaven; so they can be called "the holy places". On the other hand, the technology found in such places is in accordance with their spiritual atmosphere and therefore there exists the destructive technology in a different form and with a different motivation. The tools and techniques of art are not holy but they are the source of art and bring Holy Spirit to the artistic works. It seems that the motivation behind creating a work, i.e. whether it is a divine or satanic motivation, brings the feeling of holiness from an artistic work and makes it applicable in the human societies. Therefore, (benefiting from technology) such an art which originates form man's exalted aspect finds a form of manifestation and eventually is effective in man's elevation. As a result, the all factors of atmosphere, place, man and art are in some ways relevant to technology. So, the association of art and technology should not be considered destructive to the holy spirit of art. Because art benefits from the tangible exterior to express the exalted meanings and it is manifested in architecture and writing by a human application and holy identity.-The best examples for this claim are the holy places such as Masjed-al-Haram and Masjid-al- Nabi which benefiting from the required technology appropriate for its application, have kept the Holy Spirit in the remarkable way.- Another example is the holy book of Quran. On one hand, it contains the elevated meaning and so it is spiritual and on the other hand, it is recorded in an earthly method and so it is material. In both cases it is full of holiness.Therefore, applying technology as a facilitating tool can imply the esoteric concept. On the other hand, the holiness of art originates from the artists spirit and is inspired by the divine Spirit. While all the chains of truth, need and power are broken for the unruly man and considersa role for the application of technology which is far from being only and is harmful to him and the society. If this aspect of technology is used in art, science or anything else, it destroys their holiness.Mentioning the variables, such as holy man, holy book, and holy places proves that real holiness is not necessarily from the metaphysics; but it is the divine shadow and spirit which has influence on place, man and art from its holiness. Therefore, whether the artistic work is created by the primitive tools or the modem techniques has no effects on its holiness.  

Since prehistoric times, people have searched for ways to give visual form to ideas and concepts, to store knowledge in graphic form, and to bring order and clarity to information. During centuries, these needs have been filled by various people in clouding calligraphers, painters and artists in field of art. Art is a creation that is linked with words and pictures. If art is not primarily communication, but creation, then posters, with their function of advertising would seem to be only a secondary art form. This kind of art is close with painting and writing. Writing is the visual counterpart of speech. Marks, symbols, pictures, or letters drawn or written upon a surface, are the important part of graphic design. Whereas writing, from Gutenberg up to the first posters, was necessary intermediary link between the content of a message and the recipient. This study the most famous examples of posters in the style modern are considered. Posters are based on writing and image or picture. This article is about studying the important role of writing and lettering in posters over recent hundred years. The art of writing is some how the most important part of the poster that has especial role and effect on it. Graphic design in twentieth century is affected by some painting style, especially Cubism painting .meanwhile, this research is noted about effects of painting in modern art in graphic design. These effects are referred to how the painting styles applied letters or writing. The changes in function of writing led to a changing of style in graphic design. The most important of these changes are about legibility and clarity of lettering or illegibility of them. Even though, in the latest years this discussion is started in Iran. There is no time to discuss about this field in Iran. However, the discussion is about different branches of this field in western world, without talking about in our country. Among the most significant elements that led to changes in art of writing and typography, is working with computer that greatly caused some changes which this paper pointed them. There was a high challenging for writing and typography that was researched.