The truth comes from a single source, and it has spread in all levels of the universe. The essence and divine truth are of tradition and wisdom does not deny the truth of holiness.One of the old artistic traditions that has been the product of almost eleven centuries of gradual development of Shiite’s ceremonial mourning is coffee-house painting, which was found in fourteenth century.What has given originality to these artworks is the inner feature of them according to which, the artist, in a figurative form, has revealed by code and allegory. What has been problem here, is based on the idea of an ideologist, in Ananda Coomaraswamy1 the content of the definition and function of traditional art with this work, there is a ratio between the painting of a coffee-house with a divine truth or the same examples, that artist also created a virtuous activity based on rational activity.Aims: This paper intends to determine the divine truth of the artwork based on Ananda Coomaraswamy’s ideas and to indicate its relation to the coffee-house painting, as a traditional art.Research methodology: he research methodology in this paper is of a theoretical and qualitative nature, and the data collection is done based on a documentary study. In this regard, two instances of the coffee-house painting, were randomly selected, and the concept of the divine truth and its relation to the above artworks were explained based on Coomaraswamy’s point of view.Conclusion: Divine Truth is the same as heavenly source whose memory conjures upof the immortal representative image. Coomaraswamy considers art as the embodiment of a pre-conceived form in material form that, firstly, perceives the stage of liberation (observing the perception of the immortal truth) and then, dedicating a physical body to the idea, seeks for the stage of captivation.Based on Coomaraswamy’s ideas, the coffee-house painting is a manifestation of the Divine Truth and of those images that the artist creates based on his rational activity and also devotional activity.What makes these works authentic is their inner meaning and the truth the artist has expressed in a symbolic and allegorical manner through physical form. A coffee-house painting is not a crafting skill and art but is based on knowledge and rules whose source of inspiration, methods, and origins transcend the limits of the individual and independent human mind and the artist is merely a channel of mercy motivated by the spiritual universe.

Coffee house painting that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These paintings are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the paintings as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee house painting that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnalregime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were painting their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop painting; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee house painting according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee house style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

Coffee house painting is one of the distinctive Iranian painting traditions that dates back to centuries ago; but after the introduction of the oil painting into Persian Art under Safavid rule, experienced drastic developments and since, has striven to evolve in Persian visual tradition along Qajar period and has gone through ups and downs in later periods. The painters of this art style generally depicted religious, epic and folk themes; but basically, the main focus of the patrons and hence the painters was on the catastrophic religious epic of Karbala which narrates the martyrdom of Imam Hussein, the key holly figure in Shi’a School iconography, and his companions in the first century of the Islamic history. One of the most important paintings of the coffee house tradition is the Calamity of Karbala by Mohammad Modabber (d 1967): the second co-founder of the coffee house painting. Working along with his contemporary companion, Hossein Ghullar Aghasi tried to attend Kamal-Ul-Molk courses in order to make new developments in the folklore tradition. Seemingly Ghullar could not come along with the naturalistic style taught there and tried a more symbolic style for his works, but Modabber managed to make a new fusion in-between the two traditions and took his own personal way which later proved to be fashionable among more common citizens and even peasants living in rather remote villages, showing much passion for the visual- verbal narrative performances called Naghali. The whole tradition shows a rigor taste for a restricted number of themes and subjects; namely the religious epic of Karbala, and few subjects stemming out of the National epic of Shahnameh. The visual language of the works is usually astonishingly simple and easy to understand due to the low expectations for taste and understanding of the originally intended audience of the genre, hence makes it appealing to explore the visual system. Analysis of the works show a great application of binary oppositions in production of the narrative in the first sight. Thus, two basic questions will rise: How does this system function in the work; and how generalizable will the verdict be. The present article aims to find answer to the first question through a case study. The notion of binary oppositions was first raised by structuralists, and according to them, it can be considered as the basis for the formation of human language and consequently cognitive frameworks. The present study tries to address the issue of reading the love/hate opposite in the painting "the Calamity of Karbala" by Muhammad Modabber, as one of the most magnificent paintings in the period, based on Roland Barthes’ three-level semiotic model of analysis. The model basically published in his 1964 article, “Rhetoric of the Image” severs the textual meaning of the image into the lingual, iconic and visual levels and analyses each in its exclusive code system. The research is based on a descriptive-analytical method and collecting textual and visual data, with library research (articles and books), and seeks to answer the question: How does the love/hate sign system in the coffee house painting "the Calamity of Karbala" produce meaning through the denotative and connotative referential functions? In this way, the polarization of love/hate is pursued as a fundamental binary opposition in Iranian visual culture. The research findings acknowledge that: in the painting "the Calamity of Karbala" by Mohammad Modabber, the concepts love and hate show obvious dialectic relations in which love overcomes hate, symbolizing a body of opposite concepts in the same manner: obedience, loyalty, spirituality and sacredness, bravery and martyrdom, in opposition to treason, rebellion against the truth, idolatry and profaneness, cowardice and tyranny. Symbolic units provide no meaning independent of the whole set of the work; and it could be noted that the whole system of all these opposite meaning production units lead to a passionate system of emotional reflections alongside with the core narrative of the work, producing an active dialectic interaction between the work and the audience. Hence the work shows a full interaction of all three levels of image reading suggested by Roland Barthes, namely the linguistic, the iconic and the visual in a full range. Furthermore, the denotative message of the painting "the Calamity of Karbala" depicts a neutral narrative of an ordinary historical-religious event; yet, on the contrary the connotative messages, referring to alternative folklore understanding of the catastrophe of Karbala, tries to imply the spiritual superiority and victory of Imam Hussein's army against Yazid's army. In the Lingual level, the presence of the Imam Sajad, the succeeding Imam after Hussein is ignored and despite the figure depicting his holiness, resting as a result of his then sickness, there is no reference to his name in the work. In the iconic level, depiction of the supernatural entities, guardian lion and presence of the fictionally believed Indian army of Sultan Gheys, tending to help Imam Hussein are evident to provide the superiority of his forces; Even the visual management of the elements of work and the styles and expressions suggesting calmness and delight, are shown in figures and faces of all the companions of Imam Hussein during the fight and even their martyrdom. Figure of Imam Hussein in the middle of the upper half of the work is bracketed in-between a row of the deceased prophets on one wing and genies who have come to help on the other. This bracketing will function as a demarcation of the figure, yet the isolation of the holy figures in contrast to the lower sectors and the maleficent army, produces a sense of privacy and spirituality. Most of the righteous army is depicted in white robes against the dark siders in full amour; and white horses of the truth show a salient dominance on the dark horses. Although the account is in contradiction with the reality of the historical documents testified by the canonical authorities, yet it proves to be reflecting the spiritual tendencies of the believers to even change the course of history. In a general view, the image resists and tries to deny the reality of the drastic consequences of the event of Ashura and in order to defy its own believed account seeks to hold on the alternative folklore narratives. Hence the overall atmosphere of the work shows the tendency of love and its superiority over hatred in the work and tries to suggest the love and passion the artist and potential audience for the companions, historical and fictive figures and even the holly figure of Imam Hussein, which in turn could be interpreted as the contextual love of the whole culture for him; A cultural expression that could be identified as a symbol for resistance of folklore culture against the officiality of history.

With the beginning of the constitutional movement and social changes, a new chapter in the history of Iranian painting was opened. The history of Iran after constitutionalism was full of conflicts between tradition and modernity, and the idea of modernity that came to Iran was not properly understood. In fact, the growing movement towards Western art prevented Iranian art from moving naturally in accordance with its internal conditions. In the meantime, coffee house painting and interesting spectacular curtains created by street and mall artists and anonymous ones, are the full picture of the taste, thought and art of their creators, which depict the beliefs and customs of the time. Given the high status of coffee house painting as a folk art in the constitutional period and its comparative and intertextual nature with traditional and modern art, the concept of conversation in Gadamer's thought, as an epistemological approach, can open a new window of consciousness and knowledge to recognize such paintings in front of the audience and to analyze and retrieve them. Qajar painting has a special place in the history of Iranian art, and in the meantime, coffee house paintings are significant as a prominent branch of the art forms of painting of the constitutional era in this period. During the constitutional period, according to the socio-cultural conditions and the idea of modernism and the reflection of Western culture and art, coffee house painting refers to traditional painting in order to revive Iranian-Islamic identity and culture. Coffee house painters are as the most significant contemporary painters of this period of time. The present study answers the question; to what extent is it possible to interpret and understand the works of painters of this period with the concept of conversation in Gadamer's modern hermeneutic theory? and to what extent can this concept help to identify, trace the elements, and how the coffee house painting was formed? The purpose of this study is to describe and read the works of coffee house paintings and Isfahan school murals in the contemporary era using the concept of conversation in Gadamer's theory of hermeneutics. This research has been done with a descriptive-analytical approach based on the intellectual thought of the time and the collection of research resources is in a documentary and library way. The results show that the concept of conversation in Gadamer's thought is a great help to better describe how to create coffee house paintings according to the needs of the audience. The artist has created her work by referring to and conversing with the mural of the Isfahan school in connection with the intellectual-artistic horizon of the constitutional era, which is influenced by the all-encompassing prevalence of Western art elements. Among these, elements such as time, place, audience, themes and popular usage of painting and recitation and quotation of narrators, as another side of the conversation, are important in the formation of coffee house painting.The concept of conversation combined with concepts such as social and cultural context (semantic horizon), and Gadamer's language and tradition, plays an important role in shaping the works of coffee house painters. Contemporary painting was the beginning of the revival of Iranian identity and culture, in line with the influences that had reached Iran from Western art (social and cultural context of the artist's time). Although the elements and motifs of their works are from the past, it was a new experience for a group of Iranian artists to talk to them in their contemporary language by transferring the traditions to the present, because they had a common language with them, which had its place in the heart of Iranian traditions and culture. Since the audience of these paintings was ordinary people, the artist, one of the favorite subjects of the people, and with a suitable public style, painted in his own way in line with the traditional painting style of Isfahan school as an important step to satisfy the tastes and interests of his community. Signs derived from the drawings of the Isfahan school in coffee house painting include such things as balance and movement in visual elements and colors, the type of ideal portrait painting and the display of existential existence in the figures of pure human beings and individualistic faces with characteristics. Earth in the faces of low-level people, animal-like form, diffused and uniform light on the screen, realism in the type of cover of the figures, the importance of linear design and image resolution and simultaneous display of various events, and so on are evident as well. Coffee house painters have dealt with these traditions with prejudices that pertain to the semantic horizon of their time, but on the contrary, they also gave the right to retell their words as a party to the conversation, so that the process of understanding or forming art work is achieved.

Coffee house painting is a style of Iranian painting that was created by unofficial and non-court artists after the reformation of the Nadideh school with martial, religious, and religious themes that emerged by the artists of the Nadideh school. These paintings have a completely folk style and they grew and flourished with other aspects and methods of folk culture. The functional culture of these paintings is such that together with other folk oral cultures such as reciting prayers and reciting prayers, it has accepted the transformation of the society and in the form of a metaphorical style that is rooted in the culture of the not-so-distant past in the period Islamic (Al-Buyeh period) had revealed itself. In this way, the painter is less in pursuit of beauty and tries more to show her religious thoughts in the form of the victory of good over evil and the victory of the saints over the hypocrites in the form of pictorial conventions. It seems that some illustrated narratives in religious curtains are rooted in popular and false beliefs that are depicted in these curtains just to create attraction for the common people. The main purpose of this article is to identify and decode some folk narratives in these paintings. The reason for drawing some unrealistic beliefs in describing the event of Ashura is the basic and central question of this research. The research method in this article is descriptive-analytical based on the paintings of four leading masters of this school. The results of the research show that the painters of this school were mostly illiterate people, and only in order to make the events of Karbala more popular and attractive, in order to express the oppression of the Ahl al-Bayt family, they tried to draw these narratives, which the truth and accuracy of some None of these narrations have been confirmed in any of the sources related to the events of Karbala and also by competent scholars.

Religious art is rooted in theology and teachings of the same religion, such as the religious Coffee House painting and also the Gothic painting. School of Coffee House painting was formed and became widespread in the late 13th and early 14th century AD. A Coffee House painting was ordered for a variety of places, including a coffee house, a Husseinieh and etc. The theme of the Coffee House painting is wide-ranging; from religious to epic, romantic, and routine. One of the religious themes of this school of painting is depicted in Ashura paintings. Ashura Coffee House paintings, as a big part of the history of Persian painting and other religious paintings such as Christian religious paintings, are narrations and therefore depended on written and verbal text. Christian painting from the beginning and more since Christianity was declared the official religion in forms such as illustration of books, mural painting, typography, mosaic work, glass painting, portraiture iconography, tapestry scenes and painting on canvas narrates topics such as biblical narrations and anecdotes related to the Apostles and saints. Most of these paintings were created for the church or ordered by the same place. Gothic paintings and issues related to the life of Jesus Christ are part of Christian paintings which in this study will be discussed. Although Imam Hussein and Jesus are different in terms of the history of religion in the two missions of the Imam and the Prophet, they are similar in the works of painting in the periods discussed due to the orientation of these characters. These two types of painting, despite their formation in different times and places, have similar characteristics. As part of comparative studies emphasizes on similarities to study the relationship between texts, the purpose of this study is to show these similarities and in the next step to answer to the question that what causes the similarities? The results indicate that continuous composition techniques (continuous simultaneous and non-simultaneous) constitute the most important similarities between the two areas of painting and the repetition of the uniform visual patterns is another shared aspect in techniques of their visual expression. On the other hand, besides depending on linguistic narratives, the similarity of the attitudes of the creators of these paintings and their educational and religious use in relation to their audience, i. e. general public, are also among the factors that played a significant role in the aforementioned similarities. According to the research history, there are few examples of comparative and inter-cultural studies in the field of Coffee House painting. On the other hand, no article that has been written independently on the comparative study of Ashura in Coffee House painting and Gothic painting has been found. The present paper, with a periodic selection of the history of Western painting, and discovering of similarities and common grounds in creation and receiving of works with regard to Ashura in Coffee House painting and Gothic painting, aims to provide a fresh reader on how to narrate the images. The research is descriptive, analytical and comparative. In each of the domains, two samples are selected purposefully and based on the questions and hypotheses of the paper.

The coffee house has been built in the best places and in the trickiest populated of the city parts as different. In this place, a large crowd from different classes of society gathered together. The coffee house activity was began from Safavid era and reached its zenith in Shah Abass I period. At first, the activities of the coffee houses have been limited to receive tea or coffee people and was calmative place to rest but because this was a humanity and social place, different kinds of recreations and games made current, for example, story-telling (naghali), reading Shahnameh, playing Torna, playing cards (an old Persian card game), dancing the boys and obtaining the information from the events of the city. This paper attempts to consider the coffee house situation in Safavid society, the places that the coffee house was settle, its functions and current recreations and games like story-telling, telling Abu- Moslem′s life, pachisi, and playing cards and so on.

Ferdowsi’s Shahnameh is one of the rich works of Iran. The Shahnameh is the result of years of continuous efforts by Hakim Abulqasem Ferdowsi, who created this highly desired literary text using Shahnamehs and Khodanamehs, especially Mansouri's Shahnameh. Tahmina is the daughter of one of the kings of Iran's enemy country, the Turks, but she is in love with Rostam, and according to what she heard from Rostam, she has become his lover. Shahnameh contains many narrative and epic stories, one of the main stories of which is the story of Rostam’s familiarity with Tehmina, the birth of Sohrab, his growing up away from his father, and finally being killed by his father in a hand-to-hand fight. After being born, Sohrab grows up among the Turks and with his mother, and from childhood he is a powerful warrior like his father, until at the age of 14 he goes to the battlefield like a great general. During this period, Rostam and Sohrab have not had any communication with each other and only think of each other in their dreams and fantasies and have no idea about each other's faces, so it can seem logical that after many years, when they meet, they don’t recognize each other. Sohrab went to Iran to seat his father on the throne and to bring down Keykavus, king of Iran, and was killed by his father in a tragic way. Of course, in this path, people who were looking for a way to destroy Rostam and were also afraid of Sohrab's power prevented these two from getting to know each other. Even in this story, we see that Keykavus—whom Rostam fought many battles for—refused to give medicine to save Sohrab, thus showing the rightness of Sohrab's goal in going to the battlefield. The story of Rostam and Sohrab, when told in the form of a poem and in a literary text, has a different appearance than when the same story is presented in visual content and in the form of figures, and certainly because of the difference in possibilities and limitations, the rules and regulations of each section are different in structure. From the story of Rostam and Sohrab, many paintings and pictures have been drawn so far, and Iranian painters have paid special attention to this story, with a large number of them painting images about this war. It is also narrated in ways such as performing plays or impersonations by conveying emotions from the epic scenes of the story. Stories should not be analyzed by common people but should be analyzed scientifically. Stories have two parts: one is the structure and the other is the content. To analyze a story, first, the approach of investigation must be determined. This approach is the structural approach in this research. One of the first people to examine the structure of stories is Vladimir Propp. By examining a large number of Russian fairy tales and dividing each story into parts, he achieved interesting results and related these results to all stories. His division is now widely used for the structural analysis of stories. Vladimir Propp, one of the Russian researchers, analyzed stories based on the structural approach and divided the stories into thirty-one special roles and seven role models. In other words, there are a large number of these special roles and model roles in all stories according to his belief. The story of Rostam and Sohrab has been examined and analyzed in each part according to this pattern. The literary text is taken from Ferdowsi’s Shahnameh, and the visual text is a painting by Mansoor Wafaei, a coffeehouse-style painter. The primary literary text has been converted to smooth text. Coffeehouse painting is a kind of painting which was mostly used for reciting the Shahnameh and helping the narrator in the coffeehouse to tell an epic story. Of course, it can be said that Mansoor Wafaei is the only survivor of this style. The research method was descriptive analysis, and data collection was done using the library method. The purpose of this research is the structural examination of these two texts according to the Propp model and then to compare them together to answer questions such as: the number of Propp models used in each text and to compare the nature and frequency of these model roles in the transition from literary text to visual text. According to this research, it was determined that in the scientific investigation, a large number of Propp's special roles were used in each platform, but not all of the special roles were used in either of them. 28 special roles are used in the literary text, and 19 special roles are used in the visual text. Therefore, even some of the special roles used in the literary text have not been used in the visual text, and also the special role such as "give information," which a painter uses to give awareness to his audience, has not been used in the literary text. The frequency of special roles is also different in both texts. Therefore, it can be said that the nature and frequency of Propp's special roles are completely dependent on the context of the story, and of course, the simultaneous use of several contexts to tell a story is very helpful.

In today's rapidly evolving era, the boundaries that once defined disciplines such as natural and empirical sciences, humanities, and arts seem to be fading away. The continuous expansion of knowledge has led to a convergence where it becomes increasingly necessary to adopt different cognitive perspectives to comprehend research within each domain. The primary factor contributing to these blurred boundaries lies in the differences in methodological approaches employed by each discipline. Essentially, each field investigates the world from a specific angle, setting it apart and shaping its unique identity. Consequently, the main distinction between humanities and arts, on the one hand, and empirical sciences on the other, can be attributed to their divergent methodologies. The separation between these knowledge domains is not about the subject matter itself but rather the methods used for data collection and analysis. Empirical sciences rely heavily on quantitative and qualitative studies, while humanities and arts predominantly employ qualitative studies to delve into the depths of human experiences and expression. However, with knowledge expanding...