After the end of the Qajar period, the Iranian art was more influenced by Western culture and art. Due to the influence of Western culture and art, more modern trends entered Iranian art. The Persian painting, which had stagnated for a long time from the Isfahan school, was transformed by artists such as Hadi Tajveidi, and through that, the Tehran school of Persian painting was established. The Tehran school of Persian painting under the influence of the cultural and artistic atmosphere of the Pahlavi period, while benefiting from the artistic techniques of old painting and paying attention to innovation while preserving the roots, meeting the needs of Contemporary audiences and points such as Iranianizing the faces to do it painting faces were influenced by Chinese and Central Asian faces before Tehran school of Persian painting. The Tehran school of Persian painting, which was formed during the first Pahlavi period, left a significant impact on the painting of the second Pahlavi period and then on the painting after the victory of the Islamic Republic.  With the forward movement of Contemporary painting, some works of painting were placed on the border between Persian painting and modern painting, and some works of modern painting also took many signs of old painting under the influence of the atmosphere that demanded Iranian identity. The present article has searched for the answer to the question that how and through which examples of Contemporary Persian painting and painting have received the effects of ancient Persian painting? The main purpose of this research was to formulate and categorize the methods of referring to ancient painting in Contemporary painting and painting of Iran. The present research was written in a descriptive and analytical method and in a quantitative and qualitative way, and its statistical population included all paintings and drawings of the 14th century of the solar Hijra; From this large statistical population, twenty-three works have been selected and discussed. From the results of the present research, the recognition and classification of four main currents influenced by ancient painting in Contemporary Persian painting and painting, three of which are placed in the category of Contemporary painting due to their undeniable similarity with ancient painting, and the fourth category Due to the innovations that go beyond the framework of old painting, they have the possibility to be named with the names of modern Persian painting, illustration and modern painting.

The aim of this article is to analyze representation of women in Contemporary Iranian painting. As the approach of cultural studies shows, a representation is never a pure reflection of reality; rather, it portrays reality in a specific way in order to reproduce the dominant hidden discourse. Therefore, this research aims to decode women’s portrayals in order to discover the hidden ideology in works of male and female painters. The theoretical approach of this article is based on studying the strategies which women use in their paintings in order to prevent becoming, in Foucault’s words, a subject of the male discourse. These strategies include visual techniques which challenge the expected ideas in facing women’s portraits. The study includes decoding the portraits drawn by women and men, and emphasizing on the meaning layers of power and resistance in the works. The methodological approach of this article is semiotics, and its method is content analysis using the technique of a reversed questionnaire which was designed according to binary oppositions of meanings used in the works. The questionnaire is designed based on decoding explicit and implicit significations in paintings about women, which includes undertaking a semiotic analysis of male and female painters. Thus the meanings are arranged based on the binary opposition, which is an experimental study of paintings based on counting the repetition of meanings in the works of male and female painters. The research statistical sample includes 142 paintings portraying women exhibited during the last two years in active galleries of Tehran. The main hypothesis of this article is about the existence of a meaningful difference between the paintings drawn by female and male painters. The strategies which explain two different masculine and feminine subjectivities are examined in 9 categories and 30 binaries including: sexual performance/desexualized performance, subjective strategies/objective strategies, descriptive/explanatory, natural/cultural, generalized/particularized. Probing into such binaries poses the question of how men using descriptive signs in representing women reproduce their masculine dominant discourse of culture with sexualized, subjective, naturalistic, generalized visual strategies. On the other hand, the issue as to how women using explanatory signs resist the masculine discourse with desexualized, objective, particularized visual strategies is examined. The findings show that the portrait of women in the paintings created by men is based on a system of descriptive, iconic and stereotypical signs, while women painters have an explanatory, non-stereotypical, an interpretive vision towards characteristics and the real conditions of women. In paintings of men the reference to women is an implicational, symbolic, and mythic reference which does not aim at femininity, but rather points to feminine characteristics and the implicit meaning and subjectivity of being a woman; and thus portray woman’s beauty and elegance. On the contrary in women’s paintings, the representation of women is based on feminine experience explaining the shortcomings of women’s life-world, while men’s paintings disregard these conditions and portray women in an imaginary space. The study of Iran’s Contemporary paintings show that for women, a woman’s painting is a field of resistance against the masculine subjectivity and, in Foucault’s words, is a war against subjectivization of the woman. Women painters attempt to deconstruct the visual form which men have constructed about women. They resist subjectivization, and using new visual strategies, create gaps in the reproduction of masculine dominant culture.

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Native literature is a type of literature that reflects the living and native conditions of a region, customs and beliefs, culture, has made his works worthy of examination and reflection from the perspective of local and regional literature. For this reason, the present essay is devoted to the investigation of Ahmad Mahmoud's linguistic tricks in the representation of native literature in the novels "Safar-degree Circuit" and "Temple Fig Tree". The result of the research, which was carried out in a descriptive-analytical way and with the method of library studies, shows that Ahmad Mahmoud uses the local language and dialect in these novels, which are the local words and expressions, the local dialect, allusions and proverbs. It includes vernacular language, repetition of letters and climatic similes, it has reflected the native literature of the southern region. research goals: 1- Analyzing the way of reflecting localism in the two novels "Temple Fig Tree" and "Zero Orbit" by Ahmed Mahmoud, as one of the prominent writers of the southern region, is the main goal of this research. 2- The frequency of allusions and proverbs that are rooted in the category of localism is very important and it is necessary to pay special attention to this category in finding the roots of allusions and proverbs. research questions: 1- How has Ahmed Mahmoud introduced the native literature of the southern region in two novels, The Fig Tree, Temples and Zero Degree Circuit? 2- How has nativeism been manifested in Contemporary Iranian painting?

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This study is in fact an attempt made to come to an understanding and achieve a theory of text interpretation (that of the Visual Arts, here) from a deconstructive perspective. On the basis of Derrida’ s work, one can sum up his theory with regard to the analysis of the visual work in three main areas: the context, background, or material of the work, signs of the work that pursue the signification process in form of traces, and, eventually, Parergon that defines the limits of the work and its scope and, more generally, that of the art and non-art. From a deconstructive perspective, each of the three aforesaid concepts does in fact render the interpretation of the work undecidable in the process of signification. This study first delves into the concept of Parergon, which is originally introduced in Kant’ s third Critique, and then applies Derrida’ s interpretation and analysis of it to its own selected works of art. Thus, with regard to the concept of Parergon, art comes to intake new meanings and also gain the possibility of expanding into other fields and areas. In the practical criticism conducted by this study, three of the paintings created by Alireza Espahbod, one by Ismail Shishehgaran, and one by Babak Golkar are put to analysis. The works of Espahbod and Shishehgaran are delved into on the basis of the concept of Parergon and with the centrality of text, while this is done to Golkar’ s work with the centrality of the author. The analysis of these case works can be considered as an attempt to give an account of the status of Iran’ s Contemporary art by seeking its own aesthetic paradigm.

This research article examines legal discrimination against children born out of wedlock in Iran. Despite laws promoting equality, societal attitudes influenced by beliefs continue to result in discrimination. The study explores the reconciliation of religious beliefs with legal frameworks and the changes made to the Iranian legal system in response to positive human rights developments. The Article seeks to bridge the research gaps by comparing the experiences of Iranian children with those in other countries affected by Islamic law. The study employs library sources and descriptive and historical research methods to examine the legal status of children born outside of marriage, both nationally and internationally, and the discrimination they face. The Article is structured into four distinct sections: an analysis of Islamic Law, a review of the Iranian legal system, an assessment of Iran's compliance with international conventions, and a discourse on the necessity of substantial positive change. The Article ultimately recommends the eradication of discrimination through heightened awareness and the advancement of inclusivity for all children, irrespective of their lineage. In summary, this research Article aims to shed light on legal challenges faced by children born outside of marriage in Iran, with the goal of promoting positive changes in their treatment.

 Based on the achievements of visual narratologists, it is no secret that stories and narratives are not only reserved for time-oriented arts, including literature, but images can also find narrative features. Of course, there are different viewpoints on how to narrate the image or images, all of which go back to the theorists' definitions of the concept of narration. Visual narratologists believe that all arts, including painting, can be narrators. This group of thinkers define visual narrative in the function of the image and in the presentation of the narrative and its various forms of transmission. One of the methods of presenting the narrative is to combine the semiotic resources of language and image in the form of a new artistic text which can create a narrative and in other words a multimodal discourse consisting of language and image in the artwork itself or in its paratextual situation such as the name of the works or the name of the show, and also its statement.The addition of linguistic and narrative elements in postmodern art, where linguistics is placed instead of epistemology, becomes one of its most important features. The fence that was tried to be built between language and image in modern art, destroyed in Contemporary art and the interaction of these two has led to the formation of an inter relationship and a multimodal linguistic and visual discourse finally. In other words, modern narrative avoidance or de-narrative gives way to the return of narrative to the field of arts in different forms. Narrative in Contemporary visual arts can be defined in different ways: From the incorporation of a recognizable and straightforward subject that modern art was fighting with, to the narrative as material to do the work. Even the act of creating a work of art itself can be a narrative act. In this paper, only one of the types, the use of written language in Contemporary art and how it works, is considered.The purpose of the upcoming article is to answer the question, what is the role and function of the narrative element of the linguistic mode in the articulation of the multimodal linguistic/visual discourse of Contemporary art, including Contemporary Iranian painting? And how is this articulation done? It seems that the use of this method has increased in recent years in Iranian Contemporary art.At first, concepts of Laclau and Mouffe's thought that help to answer the question of this article are described. And with a brief mention of how to use the narrative aspect of language in the art of the 40s to the present decade, the targeted sample of the article (That is, solo of painting exhibitions the middle of 1385-1395 in Azad Gallery) is analyzed quantitatively. This gallery is selected because on the one hand, it is one of the effective galleries in shaping and expanding the art flow and on the other hand, it has uploaded a relatively complete archive (including exhibition statements) compared to other websites of galleries with the same lifespan. Iran's Contemporary art, which has been devided into official art and approved by the country's cultural and artistic observers and unofficial art, since the 70s, has been looking for new ways of expression and adopting unique views and in many cases critical of current affairs. One of these methods is the use of a language policy that challenges the separation of image and language in various ways.  And it shows this fact even more that image has an inseparable relationship with language and requires multimodal interaction. We see the increasing growth of this policy in language forms in the structure of the work itself or paratext by studying a quantitative research sample. The title of the works and the show and exhibition statements are part of these linguistic paratexts.As mentioned, Form and motif of writing material as one of the signs and discursive dimensions of Saqqakhaneh, was consolidation in its discourse articulation. Since the 70s, different artistic realms other than painting, such as sculpture, handicrafts, jewelry, clothing design, interior design, etc., have tried to stabilize the linguistic floating signifier. In most of these cases, writing has no meaningful function, such as the Saqqakhaneh painting. Therefore, language as symbolic and not aesthetic sign,since language as symbolic and not aesthetic signs was not yet articulated in the discourse of Contemporary art, was considered a discourse element. Gradually, by adding the symbolic function of language to it, it was considered a discourse moment.Based on the results obtained from a quantitative study on individual painting exhibitions in Azad art Gallery as a case study, it can be concluded that not only the text connected with the work but also detached from it, has gradually found a dynamic relationship with other painting components as a relatively main component; become one of the nodal points of painting discourse and Contemporary painting shows. And it has pushed them from a mono-modal discourse, i.e. image, to a multi-modal discourse (here, both visual and linguistic aspects). The relationship between these two components during Contemporary Iranian painting and how they are articulated has also changed and as a result, it has also affected this discourse. As seen, at the beginning of the decade under study, written signs were elements that had not yet been articulated and established in the discourse of painting. But from the middle of this decade, writing became a fundamental dimension of painting discourse as far as we can call it the painting multi-modal discourse.By visual study of works and shows based on language policies, We come to the conclusion that linguistic and written text, rather than following its previous traditions such as new traditionalism, Saqqakhaneh school and new calligraphy, follows the relations of Contemporary art. Above and beyond the formal and aesthetic aspect of the writing, its semantic and content aspects are important in harmony with the prevailing atmosphere of the art of this period. Many artists have used language as a symbolic and conceptual thing, in other words, narrative and not aesthetic in their works. Writing elements with a range of approaches are always seen in their work. Part of the creators of the multimodal discourse have preserved the aesthetic quality and the visual aspect of the language in addition to its symbolic aspect, especially in the case of the language connected with the work. Some of these works, like conceptual art, are not only self-referential, but refer to history, culture, politics, gender, etc. and they can find new expressive and significant functions such as parody, satire, irony and humor, etc. In this way, the mono-modal discourse becomes a multimodal discourse - here, image and language and the audience is also facing this discourse, and decoding the works will have no choice but to see or read multimodal interaction.   

The present study analyzes the influence of religious elements on the representation of the role of angels in coffeehouse paintings and Contemporary Iranian painting. The necessity of addressing this issue stems from the importance of symbolism as one of the most effective means of conveying meaning, which has always been of interest to Islamic artists. In the common practice of Islamic societies, angels are imaginary beings that have been represented in various ways in the literature, legends, and national and religious stories of the people of these societies. Therefore, images and paintings of angels contain codes and implications that represent the ways in which people think about celestial beings at different times. The present study aims to study the different types of images of angels in coffeehouse paintings and in Contemporary Iranian painting using the qualitative content analysis method. The field of study includes coffeehouse paintings from the Qajar and early Pahlavi periods in museums, as well as Contemporary paintings that depict the role of an angel. The selection of these works was based on three criteria: “the explicit or symbolic presence of the angel in the work”, “the originality of the work”, and “the diversity of time and place to cover historical and cultural changes”. The results of the study show that, in appearance, Islamic angels have a human-like, realistic appearance with common characteristics, but the artist, except in certain periods, did not assign gender to them. In this respect, angels are represented in a sacred aura. Angels show a view of the inside of man and help man in his struggle with his own soul. In some works, angels in the role of angels of justice are mostly depicted with closed eyes and swords in hand, and are always fighting the forces of evil, but in some works they are also depicted as young women. The results also indicate that despite the sanctity of angels and their place in all religions, the representation of the role of angels in the Islamic worldview has changed in accordance with the prevailing atmosphere and artistic approaches of each period, and gradually the sacred aspect of angels has faded and their material and human aspects have become prominent.

Man thinks with language, symbols and myths and interacts with his surroundings. Myth and art have a common theme because they both speak of the unconscious. The reproduction of ancient myths in Contemporary paintings also shows this connection and interest. Prominent anthropologist and mythologist Claude Levi-Strauss, one of the pioneers of structuralist theory, considers human thinking to be dialectical. In other words, man resolves the conflicts of his life through double confrontations. Thus, from the point of view of Levi-Strauss, the distinctive feature of mythology is the elimination or, in a more precise sense, the modification of the contrasts it expresses. Complex and unsolvable confrontations such as the confrontation between culture and nature as well as the confrontation of life and death. And myths help man to solve his problems by creating similar but solvable contradictions and putting them next to unsolvable contradictions. Thus, for Strauss, myth is the search to find the immutable among superficial differences. In this way, myth according to Levi-Strauss can have different functions such as moral function, social function, cultural function and psychological function. Iranian painters, along with artists around the world, have paid special attention to the function of myth in art. Based on their individual and social experiences, they have addressed their concerns in their own way through the creation of works of art. The aim of this study was to investigate the dual structural contrasts with the sociological function of myth based on the views of Levi-Strauss and how it is reflected in Contemporary Iranian painting. The main research questions are: 1. What are the effective factors in the formation of the sociological function of myth in Contemporary Iranian painting? 2. How has myth, based on the views of Levi-Strauss, found a sociological function in Iranian painting? This research has been completed by descriptive-analytical method based on library studies and observation of works. The studied works have been selected from the works of Contemporary Iranian painters by judgmental sampling method. Each of the Contemporary artists studied, in terms of individual and social experiences, has addressed their concerns in their own way through the creation of works of art; Therefore, the factors influencing the formation of the sociological function of myth in the works of art are different. The results of the research show that Contemporary Iranian artists, relying on Iranian myths, have resorted to research and search to find a way to their ideal world. This reliance on Iranian myths has been to such an extent that these artists, in their quest to achieve human values and criticize inhuman temperament, have also given Iranian aspects to Western myths, using symbolic methods of variety in their works. Their painting has emerged, which can be explained by the views of Levi-Strauss.