In this Article the main discussion is about the role of intuition in creating and forming ARTWORK." Bergson's" philosophy of art more than other philosophies discusses about the intuition. By analizing "Bergson's" views about intuition and art we seek to answer this question: whether art work is produced by thought or intuition? In order to finding answer the intuitional believes of "Croce"and "Coling wood" in philosophy of art is concerned which deals with the subjects such as: symbolic knowledge versus intuitive  knowledge, emotional expression versus imaginative expression and the difference between the artistic creation and understanding with pure rational activities. On the other hand by presenting a brief discussion about the function and origin of intuition in understanding ARTWORKs, we deals with three main art's fields: ARTWORK, artist, reader (addressee), . which are in challenge as the origin of ARTWORK. By considering the modern hermeneutic , reception theory of meaning, and the "Iser's" view on knowledge of signs (traces), meaning ambiguity and defamilirization, we try to analize the process of intuition from artist (Autor) to ARTWORK and from ARTWORK to reader(addressee).    

Introduction: The ethical dimensions of agriculture need to be explored, distinguishing between ethics in agriculture and ethics of agriculture. Ethics in agriculture is traditionally based on abstract moral theory, formulated through logical reasoning, but often found inadequate to address the complex ethical challenges within agriculture due to its abstract nature and lack of practical visibility. Conversely, ethics of agriculture is approached within a context-specific framework derived from the research topic with the aim of providing more tailored solutions. Materials and Methods: A comprehensive review of the relevant literature is conducted, using a descriptive-analytical approach to provide a conceptual framework for understanding agricultural ethics. Conclusion: The article highlights the critical need for a comprehensive ethical framework to address the multifaceted ethical challenges in the agricultural sector. The importance of analyzing and resolving ethical dilemmas at all stages of agriculture is underscored in order to align practices with human ideals and to ensure ethical decision-making by stakeholders involved in agriculture.

A creative art work is the product of a close interaction between the unconscious and conscious mind. Artists create their works of art by drawing on their intuitive understanding of the world and the tools and methods at their disposal. This paper studies the genetic criticism and the factors that are most important in shaping this approach. Because of the scope of the debate on this subject, we have narrowed down the theoretical section of this paper to a discussion of Freud’s theory of unconscious. The process of creating works of art is a production of the confluence of three histories in the artist’s mind: (1) the history of the world around the art that forms the collective (un-) conscious of the society and has a significant role in the formation of the unity of the context from which the work emerges; (2) the art history which is vital in the inter textual approaches; (3) the personal history of the artist that forms the individual (un-)conscious and develops the individuality of the work of art. This article looks at the psychological theories that help develop a critical model for interpretation of these three histories in relation to the genesis of an ARTWORK.

One of the main steps an artist must take during the process of creating an ARTWORK is to acquire a perception of beauty which will affect the creation of his ARTWORK. Considering the relation between human and beauty in Islamic ideology is as the relation between a perceptive and the perceived. The artist, especially considering his responsibility in introducing beauty to the society, must be able to enhance his ability to see beauty by using conceptual tools, prior to creating a work of art. Researchers have always been interested in the issue of how important and necessary is knowledge to an Artist, but the issue which remains ambiguous is the manner a bouts of perception in relation to substantiating the ability to see beauty (beauty-witnessing) so as to reach a systematic solution for enhancing this ability in the artist. It has been tried in this article to investigate the issue above, by analyzing and extracting logical propositions from Qoran verses and accounts/hadiths, as well as benefitting from Allame Seyed Mohammad Hossain Tabatabai’ s opinions. Accordingly, a detailed and meticulous perspective on the quiddity and essence of beauty and the quality of perception indicates that beauty is the manifestation of existential traits by the existing that makes it the responsibility of the intellect to see it; activation of the intellect relies on the quality of contemplation. A contemplation may lead to beauty-witnessing that approaches to subjects according to the existence. The solution for an artist contemplation is achieved on the basis of traits and structures of such contemplations.

Reading the field of city art requires understanding the laws and conditions that govern it, or the knowledge that governs its time. The knowledge discussed in the present paper is defined as: the knowledge that emerges from a deep reflection at any time, dialogue and education, representing and interpreting that period of issues, phenomena, values and insight, showing prospects that increase the potential for effective government and artist action and decision-making, affecting and responding to citizens' mental processing of the time. Accordingly, this paper seeks to answer the following question: What are the components of knowledge governing the field of city art that interact between the state, the artist, and the citizen. Studies show that there is a kind of awareness of city art that, through its components, derived from the current state of urban societies, necessitates the participation and interaction of the state, the artist, and the citizen. In such a way that the artist is given the opportunity to present them as new art by considering such components in the creation of his/her works. On the other hand, he/she can fulfill the government's goals of creative urban development and transform them into allegorical ways of effective knowledge and citizen acceptance. But a recent paper of some of the ARTWORKs of Yazd indicates that because the artist has poorly utilized or lacked knowledge of the components of knowledge, he/she has not been able to guarantee the realization of the government's intended goals and missions for citizens.

Iranian art is one of the richest artistic heritages in the world comprising different fields such as architecture, paintings, weaving, pottery, calligraphy, metalworking, petrography, etc. This art had inseparable link with nature; especially with plants and animals in different eras; and it has been interwoven with poetry and literature so that its glory, beauty and expression have increased over time. In this study, based on available resources and collections in the museums of the world, fish imagery depicted in ancient Iranian art has been studied and its importance is discussed from different perspectives. The use of plant and animal imagery, especially fish, in the ancient works such as stone, clay, bronze and fabric (textile) has a long history of several thousand years and the fish has been used as a symbol of religion, culture, social relationships and economy. On the other hand, fish imagery presents the past fish fauna, and along with the archaeological remains, provides information about the fish biodiversity, which is usually consistent with the recent ichthyodiversity.

The Art economy as a subset of the cultural economy is one of the relatively emerging issues in the field of culture. The Tehran auction event, which began its work in 2011, is one of the most significant and most influential events in the art industry. In this research, the attempt to explain the relationship between some important factors on the price of sales of works in this event is explained using Arthur Danto and George Dickey's theories. Descriptive method has been used in this research. Therefore, in terms of the type and purpose of the research, descriptive-exploratory is used. The present study is based on the way data collection is documentary and in terms of data type is quantitative. The statistical population of this research is eighty-seven seven works sold in Tehran's nine auction period of two hundred and seventy-seven male and female artists. Using descriptive and inferential statistics, SPSS21 software was used to analyze the data of the statistical community from the Tehran auction site and use of Arthur Danto and George Dicky's editions as theoretical basis. The data were analyzed using descriptive and inferential methods. The research hypotheses were tested.

The enhancement of thinking goal-oriented of an artist is one of the most important parameters effective on the enhancement of his/her beauty-witnessing. God always guides human towards this kind of contemplation in the Holy Qur'an and thus to achieve the most efficient skills of enhancement of the artist's contemplation, the Divine words may be the best choice for the presentation of a correct and appropriate pattern of contemplation. For this purpose, if all of Qur'an's verses were analyzed on the basis of the structural parameters of thought, some specific methods of correct contemplation on the subjects will be produced which are distinguished from each other on the bases of the kind of need, the goal and the approach to the subject; thus having achieved different kinds of methods, the artist's contemplation in the process of creating an ARTWORK can be organized correspondent with the real needs of the society and move towards beauty-witnessing in the subject.

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In some point of view, neither Michel Foucault nor Ibn Khaldun are considered philosophers in the conventional classifications, but both are very  important in intellectual and, of course, in philosophical contexts, especially for those who are interested in the deep study of human life from the perspective of political thought.The main concern of two thinkers, one in the 14th century, the other in the 20th century, is the issue  of power, although neither of them provided a precise definition of it. In this article, an attempt has been made to show the place of power and domination in the political thought of both thinkers by examining the thoughts of two thinkers. And in search of an answer to this question, how did Asabiyyah and industry of religion in Ibn Khaldun's thought and social control through self-technology and discipline in Foucault's thought lead to the expansion of the domination of power? This article is written by analytically comparing the opinions of two thinkers based on Ibn Khaldun's most important book called Muqaddimah and Foucault's late works