The present paper has been intended to study the application of the fourth dimension in Persian paintings in the school of Cubism and graphic art particularly in designing signs. As the first step, the researchers embarked on elaborating on it from different artistic views, using related literature, descriptive and analytical methods as well as comparing research findings on its fourth dimension so that its artistic and technical aspects could be analyzed as clearly as possible. Later, the researchers summarized theoretical discussions in a primary conclusion based on which they determine the concept of the fourth dimension and examine its function by way of comparison, first in outstanding Persian paintings, later in Cubism paintings and finally in the section regarding the graphic design. Having done this, the researchers introduced certain examples of statistical universe in the present paper. Moreover, having observed historical samples of paintings, the researchers came to realize the progressive ideas pertaining to the creation of figurative motion in the ancient Iranian works of art. For this reason, the present paper begins with presenting samples of such ancient Iranian illustrations.The function of the fourth dimension in illustrating figurative spatial aspects with the use of its supernatural nature for the creation of two-dimensional objects helps better understand the non-material abstract qualities. This is just like showing the depth or three-dimensional capturing of different aspects of a subject simultaneously or expressing dynamicity and motion. On this basis, the fourth dimension in this article is considered to be the product of visual qualifications. The fourth dimension in visual arts like many other non-material affairs requires visual skills which in term is a composition of tangible elements of a work of art through which we get an abstract quality.In conclusion, from the most basic visual elements , such as (dot, line,…) to the arrangement of complicated forms of things, the application of special and different points of view, the use of full and empty spaces in order to show different aspects of a sign, or showing narrative scenes in present, future and past tenses of interior and exterior architectural spaces and surrounding environment in paintings are all simultaneously let to a meaningful composition in such a way that it would be possible to reach the fourth dimension by imagining the motion through bi-dimensional space. According to the findings of the research, the authors have observed the creation of works with similarities and differences in the application of fourth dimension as the period of time in Persian Painting and Cubism painting as if the observer's eye or the creative brush of illustrator has the ability to simultaneously draw his pictures in a multi-space atmosphere from various aspects. The fourth dimension in illustration is captivating the same parallel moments, which views several scenes from different angles simultaneously. This applies to the cubist painters who allow the audience to create a new-visual school of painting by browsing in its surroundings, integrating viewpoints and mixing these visual dimensions. Regarding the characteristics of the fourth dimension, modern atmospheres may also be required as well as contemporary graphic sign designs. In designing signs, we also witness multi-dimensional views.All in all, perhaps what can also be illustrated in this paper is the optimal black and white spaces together with a multi-dimensional look at the stage, incorporating different aspects of observing and as a result obtaining the true concept of the fourth dimension which means in other words "capturing time".

Cubism, which revolutionized the visual arts during the first decades of the twentieth century, had a significant impact on literature. It is often considered to be the twentieth century’s mode of expression. This article examines the influences of the cubist style on Hajm poetry-an avant-garde movement in contemporary Persian poetry which is mainly associated with Yadollah Royaei’s works. The main question of the article is how it is possible to apply the visual aesthetic principles and techniques to literature. The article is divided into three main sections. In each section, one of the common fundamental concepts between these two movements is introduced. These concepts are as follows: (1) the essence of the thing and the representation of reality; (2) three-dimensional image and the movement of the image; (3) and the concentration on the process of the creation of literary work through focusing on the materiality of artistic medium. These concepts are concretized by using some devices which create an effect similar to the cubist visual techniques, the consequence of which is to challenge the concept of representation in art and literature.

In this paper tries to point to genesis of Modern Art and its features and aspects Based on an academic approach, and also styles that will impact on this timeframe.Evolutions that occurred in the second half of the nineteenth century in Industry (Including the invention and evolution of the photography industry since 1839), science, philosophy, economics and politics have influenced the thoughts and ideas of modern artists.Multitude of artistic styles those are characteristic of modern art was dominant art the late nineteenth and early twentieth century.Usually the history of modern art is defined based on the modern art movements; Impressionism, Cubism, Futurism, Expressionism and Surrealism as the artistic styles that Put a great Effects on modern art.With An Overview of this styles and Referring to their influences and also effective artists, we will analyze the reasons for their rise and decline.

Introduction: «Orphism» is one of the most important artistic movements in world art history, and its bright colors and circular shape are among its most essential features. This movement is a branch of «Cubism» style. Cubism was an advancement in art that influenced artists to abandon existing traditions and form new movements, such as Orphism. The present research first examines the color and form in the works of Orphism, and in order to investigate its evolution, it examines the color and geometric shapes in Cubism to discover the factors that cause changes in the transition from Cubism to Orphism. Then, it explores what is so powerful about the circle shape that drives artists to use it to convey ideas. This research aims to investigate the emergence of bright circles in Orphism based on the evolution of the color element and geometric shapes in the transition from Cubism to Orphism and to identify these developments in the works of artists such as Picasso, Braque, Gris, Delaunay, and Kupka.Research Method: The current research method is descriptive-analytical, and data collection is conducted using documents and library materials, such as note-taking and photo reading. The statistical population of this research is thirteen paintings in Cubism and Orphism styles.Findings: The circle shape was the best way to evoke music due to its endless and continuous movement in combination with bright and vibrant colors. When music is depicted, the evidence shows that abstraction and reaching something beyond the material world are concerns for them; this is one of the other reasons for choosing the circle shape, which symbolizes the reflection of the world, unity, sublimity, integrity, and divine nature. The representation of movement, music, and celestial symbols with bright, vibrant colors and a circular shape in the works of Orphism can be seen as the continuation of the geometry of Cubism, and on the other hand, compared them with everyday day and earthly scenes, such as nature and still life with limited colors and dimensions of Cubism.Conclusion: Cubist artists with a realistic mentality sought to express earthly and material events. Orphisms followed an extraterrestrial and spiritual point of view and displayed it in their works with bright circles, one of the oldest meaningful symbols of humanity.

One of the central questions in the visual art is the concept of Mimesis and the interpretation of this concept in Azerbaijani visual art. Identification of the multi-faceted “ Mimesis” on specific examples-the work of the artists of Azerbaijan in different epochs, with the prism of the evolution of the visual art and the concept of “ realism” of this time, i. e. “ Truth of Life” in its historical aspect. Relationship to the term “ imitation” since Renaissance is especially manifested from the second quarter of the twentieth century, which is obviously traced in the work of domestic artists with the middle of the twentieth century, when Mimesis and Poisis transform concepts in the subjective world of the artist, the realism, which is not Displays the objective world, does not invite the viewer in his own world, it is not necessary to look at things in the world of other prism. At first there were various directions as: cubism, futurism, suprematism, abstractionism, surrealism, etc., but after the concept of “ Mimesis” became the vision of her versatility, where the artist is more than one in his own reality, and reality expands the verge of its existence together with the viewer.

Pokhestan is a science fiction novel with an allegorical texture, written in 1884 by Edwin Abbott. The author engages in a profound critique of his contemporary world by creating people in one-, two-, and three-dimensional forms. In this article, an attempt has been made to extract the data, symbols and signs used by Abbott through analytical-descriptive method and library collection way in order to reveal their relationship with the processing era. The result shows that although these elements criticize the social, political and cultural dimensions of the author's time with bitter and satirical language; but the structure of the work is based on the journey in the land, underground and extraterrestrial travels that are still traditional. Also, the author's attitude towards the world of his fictional characters and their relationship with each other, especially the square narrator of Pokhestan and the people of Hajmestan concerns the recognition of the hidden dimensions of objects and phenomenon, tends towards a style in painting called Cubism.

The term “simultaneity” means the exhibition of various spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity” has been used for referring to Persian painting and Cubist paintings of Picasso. For this reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian painting and Picasso painting each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial simultaneity” lacks enough precision for describing Persian painting. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso paintings are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian painting and Picasso painting involves similarities and differences. For instance, in Persian painting, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso painting, space is perceptual and dependent on the material world. For this reason, it can be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian painting because such term has been used for the first time to define Cubism style in painting which is not in complete correspondence with Persian painting.

Comparative study of modern art in Iran, Iraq, and Pakistan explain aspects of indigenous in modern art. In this article we examine these questions: how did avant-garde artists in these countries attempt to find and match modern art with indigenous art? How did they experience indigenous modernities in art? In this article, by adopting a historical-comparative sociological approach, we analyze the experiences of modern art in the works of Jalil Ziapour (in Iran), Javad Salim (in Iraq) and Shaker Ali (in Pakistan). The results show that the structural similarities in the art of these countries, which can be called parallel histories, can be examined at three levels: 1) The social context of the time: Especially in the middle of the 20th century, when the discourse of nationalism was influential in the formation of national culture, and governments sought to create a stream of national art that was both historical and modern, 2) Dominant artistic models of the era: Specifically the art academies of Paris and London, which transmitted the methods of teaching and art schools to international students and 3) Trying to shape the national school of art: Artists from peripheral countries were looking for an art form that represented both the universal language of art and the ability to build a national school. Cubism style was the answer to this problem and played an important role in shaping the national school of art. Three artists tried to return to the historical heritage and connect it with the combinations of Cubism. Javad Salim sought to integrate Islamic images and the heritage of Mesopotamian art with modern formalism and cubism,Jalil Ziapour emphasized the Iranian origin of Cubism, that is, the geometry of Islamic motifs as the background of modern abstraction,Shakir Ali, as a avant-garde artist, tried to learn traditional miniatures, because he believed that there is a link between this historical heritage and modern art. The achievements of these artists cannot be considered only as a modality of European art,Just as they sought to go beyond the formalist adaptation of modern art to indigenous subjects and experience a indigenous modernity in art.

The seamless interplay between art and technological advancement from the late 19th to the mid-20th century is the focus of this article, which examines the influences of pivotal art movements such as Cubism, Art Nouveau, Abstract Art, and Futurism on design inspiration. Through an analysis of the works and methodologies of notable figures like Pavel Janák and Giacomo Balla, the study highlights the symbiosis between the evolution of art and the innovations of the contemporary technological landscape. These movements mirrored their times, from Cubism’s analytical breakdown of form corresponding with industrial fragmentation, to Art Nouveau’s organic motifs that contrasted against mass production, and from Abstract Art’s introspective dive coinciding with psychological advances, to Futurism’s celebration of dynamism in tandem with the era’s mechanistic obsession. Insights gleaned affirm the integral role of technological progress as both catalyst and canvas for artistic expression, culminating in a legacy that provides a foundation for ongoing creative dialogue in the face of the digital age’s new technological frontiers. The article proposes that the narrative of Modern Art is not solely a historical recount but a continuous inspiration, influencing future design and innovation.

In the current era of contemporary Arab poetry, poets deliberately and consciously take advantage of the techniques such as cinema, painting, music, etc., in order to grounding their poetry on the basis of such techniques. One of the most prominent and postmodern Arab poets who put the principles of the new poetry on the table is the contemporary Lebanese poet Susan Alivan whose poetry is as distinct from that of his predecessors or modernist Arab poets such as Siab, Bayati, Nazik al-Mirae Is. The Lebanese poet emphasized the style and content characteristics of nineteencentury poets, most notably the interplay and application of other arts and techniques, especially collage in poetry. The collage, which represents the disorder and chaos of the contemporary world, was invented by Cubism painters, relying on components and sticky elements. Following this approach, the contemporary poet creates a collage-like poetic approach. That said, this descriptive-analytical research sought to analyze the court of Susan Alivan's "Rashiq al-Ghazal". The result showed that Susan Alivan has clearly used this technique in poetry. Moreover, it was revealed that her poems have a distinct and varied image, adhering to the principle of stickiness and inducing concepts such as chaos, disorder, confrontation, rupture, and high power and display capacity.