"ART DECO" style, as well as "Bauhaus" style, their pottery and features have specifications which are significant regarding to their great differences despite being contemporary and having common origin and the comparison of these two styles pottery and the influence of social factors on them, are necessary for identifying these eARThenware from other samples, despite the importance of interaction between this ART and social factors.Collecting and writing the subject matters in this research, is done by library way and visual reading; It's worth mentioning that "Bauhaus" book (1386) is the only persian source in this field, so compilation of histories and styles' features, are derived from latin source. In addition to the reading of written sources, visual reading has also helped in comparing potteries.Studying and observing the pottery styles in these two schools, demonstrates that the difference between these two styles has been related to DECOration, design and is much more than their similarities. The two styles are related to the same time limit and use the same material, but have a bilateral effect with the environment, and the governing philsophy of each style affects the form or DECOration of eARThenware even in subsequent eras.

variety of western carpet designs such as Bahaus School are characterized as different from the traditional designs and forms and are basically based on principles of visual ARTs. This variety pops up questions about the origin, causes, and relationship with oriental carpets. This paper is an attempt to answer some of these questions. To this end, history of western carpet by looking at ART movements such as "William Morris Movement", "Bauhaus School", "ART DECO", "ART Noveau", and "Post-modern ART".

ART-Nouveau movement, as one of the avant-garde movements of the late 19th century in European ART and architecture, had a definite impact on the formation of the architecture of the 20th century and the architecture of the modern era. The expansion and diversity of this movement is a characteristic which differentiate it from other ARTistic movements of the contemporary period. Most critics of ART and architecture historians in the West, share the view that the beginning of modern ART has its roots in the developments of the late 19th and early 20th century which is called the ART-Nouveau movement. In fact, it should be remembered that ART-Nouveau is not a style, but has a wide range of meanings and is generally applied to all the avant-garde in Europe in late 19th century and early 20th century. The aim of this movement was presenting independent and unprecedented ART works which shared “novelty” in common. This school, besides believing in the commencement of a new era and letting the ARTists free from the past limitations, has brought various and different methods and inclinations in architecture.The observation of some of the contemporary architectural works in Iran (especially in Tehran), which have evidently been under the influence of some of the stylistic tendencies of this movement, shows the vast entry of this western ARTistic movement into the contemporary Iranian architecture in a special period. Diversities, similarities and differences of these stylistic tendencies are to an extent that makes a comparative study on this period of stylistic tendencies, with the aim of separating and recognising these styles in the contemporary history of architecture of Iran, inevitable. This ARTicle tries to come close to a new stylistics of this western architectural movement in contemporary Iran with the help of a comparative analysis of the ART-Nouveau architectural tendencies in the west and a logical comparison of them in Iran. Also in the pursuit of this objective, this ARTicle will probe the possibility of classification of these styles in the contemporary architecture of Iran in a definite time period. In order to gain the objectives of this ARTicle, we will at first study and criticise the opinions of the critics in recognition of the style and stylistic specifications of ART-Nouveau movement in the backdrop of its formation and then we will classify these styles in the contemporary architecture of Iran by reviewing the examples of architecture influenced by this movement in Iran and by considering the works which have been done in this field. At the end, this ARTicle will show that despite stylistic diversity in the architecture of the first Pahlavi era in contemporary Iran, all this architecture is a stylistic sub-category of ART-Nouveau movement. In field of typology of contemporary architecture of Iran, so important attempts have been taken place and all of them are appropriate for scientific appreciate. But regard to architectural stylistic of ART-Nouveau in Iran, as study of an era base on comparative method, in this paper, is absolutely novel and its results are unique. 

Attitudes of various religions and schools of beauty, plays a decisive role in form of their ARTworks and contents. In eastern civilizations, in most times for the long time, the ART has been accompanied with an ARTistic view, faith-spiritual or mythological and its purpose was to draw more people into absolute beauty. Examining aspects of cultural and ritual ART approach in the East and with the study of ideas, different perspectives and worldviews, we can define an acceptable offer of ART and we can take a look at the holy and religious ART that is result of the east civilization, with a mythological-literal view. In this paper that is done using a library and analytical-descriptive method, we tried to show that the true ART, truth of the beauty and the creator of the beauty and perfection of the creator and the philosophy, in addition to introducing the magnificent original ART.