Of all The artists working for the studio of Nadir Shah's historian, Mirza Mahdikhan Astarabadi at Isfahan, Ali Ashraf with his considerable output and his numerous pupils is distinguished. His works were widely collected. He is particularly well-known for his lacquer painting, In fact his extant works give first place to elegant flowers and birds. These are perhaps a conventional imitation of heavenly beauty. He is less associated with the illustration of manuscripts, partly because Nadir Shah is not known have been an assiduous patron of them and perhaps because of Ali Ashraf's personal preference for heavier and more static flower and birds for beauty expression. There is however a reason to suppose that he was not capable of working in the style of the court atelier. He is the most important of a group of later safavid PAINTERs who practised a highly eclectic style, often with subjects drawn from European painting. Decorative floral composition with were widely use for lacquer works from later safavid period on words, also become a popular genre is 18th century Persian painting. Mirrors belong among the subjects with painting. They became particularly popular in the second half of the 18th century. Mirrors cases were usually small, light, graceful and decorated more often than not with floral motifs or composition adopted from works of European art. The use of European models is especially well demonstrated in Ali Ashraf painting on the mirror case. Ali Ashraf tried to convey every natural future by pictorial means. Flowers were shown at stages of development, from barely open buds to blossoms with half-scattered petals. *This article extracted from my research project known as” achievements of three Persian PAINTERs of 18 th century”, in university of Tehran. Qalamdan or pen case is oblong subject with rounded ends and a sliding internal section the portrait of a young European in armour is painted on it, framed by flower and foliate motifs is gold against a black ground. Ali Ashraf one of the most master of Qalamdan painting. The binding of manuscripts provides us with the rare opportunity of proving that bindings existed separately from the manuscripts, which apparently only preserved their original bindings in extremely rare instances. The bindings bears the precise date of manuscripts. The cover and flap are decorated with paintings against a black ground. In the first, and fairy wide, border, Persian verses are written in cartouches in with point. The themes of painting are a banquet, a battle and a fairy tale garden. The inside is of dare red leather and is decorated with cartouches and medallions with foliage against a black blue turquoise and yellow ground. Ali Ashraf is one of the distinguished master in binding. The royal hunt is the principal theme represented on surfaces of painted casket. Hunting had its origin in Pre-Islamic Iran. It was a short reserved for royalty and the elite. Ali Ashraf is one of the PAINTERs that in casket painting was distinguished.

 Introduction Tile PAINTERs artists in Shīrāz played an essential role in preserving Qājār ‎traditions and restoring historical buildings during the Pahlavi era. Among them, ‎Moḩammad Bāqer Jahānmiri (1883-1959), known as "Hāji Moḩammad Bāqer-e-Naqāsh" or ‎‎"Hāji Bāqer," a tile PAINTER, stained glass artist, stucco artist, and mural conservationist of ‎the Pahlavi era in Shīrāz, kept the legacy of the tile Painting alive and worked tirelessly to ‎preserve it until the very end of his life. His works stood out due to his skill in painting and ‎his complete familiarity with ceramic techniques during his time. However, these works ‎have been less studied and categorized. One of the reasons for this is the small number of ‎his works with figures, and another is the shade of tile PAINTERs such as Mirzā Abd al-Razzāq ‎Kashipaz (1867-1937 or 38).‎ Research Method The current research deals with the "interpretive-historical strategy" ‎and an analytical approach to describe, recognize, and study the works and life of ‎Moḩammad Bāqer Jahānmiri, and its final goal is to reach a "monograph." Parts of the ‎necessary data are collected from library sources, and an essential part of the ‎documentation is the result of fieldwork and photography that produced first-hand data and ‎had no previous traces in the research. Since the reference to unsigned tiles reduces the ‎accuracy of the results, only signed tiles have been used as the basis for analysis and ‎classification, and the presentation of samples without signs or those attributed to him has ‎been avoided. Undoubtedly, some signed tiles may be kept in private buildings or personal ‎collections; therefore, access to them was impossible in this research. The research ‎questions are as follows: (a) at what intervals can Jahānmiri's artistic life be divided? (b) ‎Who were his supporters, colleagues, and students? (c) What are the categories of his works ‎and the prevalent themes?‎ Research Findings The artistic life of Moḩammad Bāqer can be divided into three ‎general periods: the first period is the "Qājār period," the second period is the "Rezā Shāh ‎Pahlavi" and the third period is "the Moḩammad Rezā Shāh Pahlavi period." Unfortunately, ‎an essential part of the PAINTER Haji Moḩammad Bāqer's artistic life was spent in the ‎turmoil caused by the Persian Constitutional Revolution (1905-1911), the First World War ‎‎(1914-1918), and the Tremendous Iranian Famine (1917-1919). The names of the masters ‎and workshops he gained experience during the first period of his artistic life have not been ‎mentioned, but it seems that the beginning of his artistic life must be in the era of Muzaffar ‎al-Din Shāh. But so far, no significant works of him related to the Qājār period have been ‎found, and there is no document of his collaboration with any tile workshops in that period. ‎The Rezā Shāh Pahlavi era is the second period of Moḩammad Bāqer's artistic life. This ‎short period (1925-1941/ 16 years) can be considered the time when many of his important ‎works were created with Qājār's theme and were less affected by the social and political ‎developments of the time. His employers and supporters in this period were folks and ‎wealthy people who owned public buildings. The third period of Moḩammad Bāqer's artistic ‎life is the Moḩammad Rezā Shāh Pahlavi period. This period is from 1925 until he died in ‎‎1959 (18 years). In these days and ages, most of his activities are to carry out essential ‎orders, primarily government employers. The signed works identified by Moḩammad Bāqer ‎Jahānmiri so far, and I observed them from close inspection or documentation, include 14 ‎works that belong to the second and third periods of his artistic life during the Pahlavi era. ‎Signed items can be classified into 5 groups in terms of location:‎ a) Works in residential buildings: Sa'dat and Towhidi houses and tiles on the front of an ‎unspecified house in Shīrāz;‎ b) Works in religious buildings: Vakil Mosque, Jame Atiq Mosque, Siyavshān Mosque, ‎Imamzāde Seyyed Tajuddin Qarib, Imamzade Ibrahim and Aghā Bābā Khān School;‎ c) Works in commercial buildings: Haj Naser Korhani bazaar;‎ d) The works in the monuments: Qorān Gate and Sa'di Tomb;‎ e) The works in health and treatment buildings: Jawanmardi bath and the entrance of ‎Namāzi hospital.‎ Compared to masters such as Mirzā Abd al-Razzāq, his signed method shows that ‎Jahānmiri used his name in many cases in a small, simple, and uncomplicated way. This ‎issue can represent his humble and blushing character.‎ Conclusion In this research, 14 of his signed tiles have been identified, which include a ‎variety of residential, religious, commercial, and memorial buildings. Most of his works with ‎figures from religious buildings and monuments are placed at the end of his life. The ‎available evidence shows that Jahānmiri did not collaborate with any other tile PAINTER ‎except Karim Faqfouri, and there is no indication of the number of other PAINTERs who ‎worked under him in his works. However, plaster PAINTERs and tile PAINTERs were trained in ‎his workshop, some of which are known in the oral history of Shirāz artists. The classification ‎of his signed tiles shows that these works can be placed in 6 groups, including "floral and ‎bird motif (Gol-o-Morgh)," "Antiquity," "Iconography & portraiture," "Europeanized ‎motives," "Imaginary painting," and "Tile-Epigraphy." Flower and bird tiles and floral motifs ‎can be seen in almost all works and periods of his artistic life. The analysis of the theme of ‎his tile paintings, in general, suggests four ideas as the ideas governing the works. These ‎cases include "Europeanized motifs" (in the design of buildings, landscapes, and Western ‎sceneries), "Religious motifs" (in the portraits of religious narratives and Shi'ite figures), ‎‎"Ancient Iranian motifs" (in the design of scenes and figures from the Achaemenid and ‎Sassanid dynasties), and "Motifs derived from Iranian painting" (in the design of floral and ‎bird motifs and plant patterns). Further studies can validate and verify other tiles attributed ‎to Jahānmiri based on the design and artistic features governing his works with figures, ‎which hopefully would be noticed by others.‎

Studying the characteristics and the sentiment of the artists who have had the main role in creating the Shahnameh of shah Tahmasp is one of the essential issues that could define and clarify the approaches of the expression of the images in this masterpiece of art. The purpose of this study is to introduce and examine the artist Agha Mirak>s perspective, his characteristics, his status and position. This paper, drawing on the writings of the significant contemporaneous authorssuch as AbdiBeykShirazias well as focusing on the works and life of Agha Mirak, attempts to answer the questions regarding the characteristics and beliefs of the artist and the approach toward the narration of images in the Shahnameh. This paper, studies the artist, using the qualitative, monographic, and historical-analytical methods as well as the theories of scholars and the authors of epigraphs based on spiritual thought prevalent at the time. The necessity of this topic is to present and recognize some of the Iranian Islamic artists. The results of the study indicate that the artist, as a treasury of techniques, traditions and artistic memory with a spiritual approach, represents the images of his period. Mirak has a new way to interpret the heritage of painting in his own period; therefore with this method he takes the language of image beyond verbal expression.

Armenian presence in Iran from the 17th century not only left an important influence on business and economy of Iran but it also emerged influential in the fields of culture and art. In this paper it has been tried to explain the status of Minas, Armenian PAINTER of 17th century by application of descriptive – analytical method based on the history of painting of Iranian Armenians. Findings of this study proved that Minas as an Iranian-Armenian PAINTER emerged as an influential figure in history of painting of Iran by introducing European painting to Iran, to draw large portraits with oils, to teach Reza Abbasi and his emphasis on the presence of painting in social life. The aim of this article is to study the place of this anonymous PAINTER in the history of Iranian painting and to know about his abilities and impacts on Iranian painting in seventeenth century.

Lead toxicity causes hemotological, gastrointestinal, and neurological dysfunction in adults and children. Dust, water, paints and paint chips are still major sources of lead toxicity. Lead has been known as a highly toxic enviromental factor for a long time. In recent years several epidemiological, experimental and clinical studies have indicated that even relatively low blood lead levels may affect the cognitive ability in young children. The following were the groups of subjects, who gave their informed consent in the study: I-Healthy controls, fifty-four haematologically and clinically (including physical examination) male normal subjects with mean age of 45 and from different jubs served as controls, 2-Occupationally exposed subjects, fifty male PAINTER building workers exposed to lead (mean duration of working 13 years) with a mean age of 40, were included. Subjects with any indication of coexisting iron deficiency or any abnormal findings on physical examination were excluded from the study. The standard haematological, erythrocyte delta aminoleavulinic acid dehydratase and blood lead determinations were performed in two groups. The enzyme acitivity was significantly decreased in the occupationally exposed subjects (1304±146 µmole L / h versus 1535±181, p<0.001, t=9.56) as compared to control. In occupationally exposed subjects blood lead concentrations were significantly higher than controls (1.34±0.6 µmole/L versus 0.57±0.21, p<0.001, F=13.6). In the control group there was no significant correlation between blood lead levels and logarithm of ALA-D (r=-0.21, p=0.067)). In contrast, in exposed group a statistically significant negative correlation was noticed (r=-0.48 , p<0.05). In exposed group ferritin was significantly higher and TIBC significantly lower than in the control (76±23 µg/L versus 58.5±16, p<0.01 and 47±15 µmole/L versus 65±17, p<0.01 respectively). It is generally accepted that erythrocyte ALA-D activity is the most sensitive and specific biochemical index of acute and chronic lead poisoning. Since low blood lead leveles have been associated with decline in intelligence quotient, screening programs in urban centers and occupationally exposed workers are now identifying asymptomatic individuals with elevated blood lead levels.

In the history of Iranian art, Qajar painting has an important place. Royal portraiture school in the period of Fath Ali Shah Qajar is a prominent branch. In Royal portraiture, naturalization, abstraction and decoration are brilliantly intermixed. Mehr Ali was one of the PAINTERs of this period that created portraits of Fath Ali Shah and a number of Qajar women. The primary goal of this study is to investigate Mehr Ali's works based on visual features and their tie with traditionalism and the use of decorative elements. The important aspect of this study is the use of Gerard Genet's Transtextuality to read Mehr Ali's works. The main research questions include: 1. How did the decorative elements and traditionalism appear in Mehr Ali's works? and 2. How can we find visual counterparts in his artwork using the metamorphosis classification in Gerard Genet's theory? For this research we use descriptive-analytical methods as well as online and library resources. Our results indicate that Mehr Ali's works have explicit intertextual relations with the writings and poems of poets and writers and the sculptures from Iran’s past. His work has also an implicit and hidden intertextual relationship with ancient Iranian myths. Mehr Ali's works contain the Architextuality of the Qajar court royal portraiture style. All interpretations and critiques related to Mehr Ali's works are considered as Metatextulaity of his artwork. The propaganda works of Fath Ali Shah Qajar, such as sending portraiture paintings as a peace offering to the court of India and the Versailles palace, are the Paratextuality of Mehr Ali's works. Hypertextuality of Mehr Ali’s works is Fath Ali Shah Qajar, who commissioned the works, and the former style of painting in Iran. Mehr Ali's works are considered as Hypertextuality for the artists after him. Fath Ali Shah is considered to be a traditional legatee who has been familiar with the political ideas of the state from the previous era, on which he emphasized for direct political and cultural validity and legitimacy of the government, which directly and indirectly refer to concept of Price.Visual principles and structural fundamentals of the traditional Iranian paintings are influenced by mystical elements and their special reception from the philosophy of Eastern ontology. The Qajar artists, who were bombarded with the manifestations of European culture and civilization, inadvertently were fascinated by the visual elements of the works. Like other contemporary artists, Mehr Ali neither wanted nor could completely abandon the traditional values of the past. The Qajar era discourse along with two traditional and modern discourses of intellectual development are preceded by visual developments, but the Qajar era discourse of Fath Ali Shah, which can be considered as continuation of Khosravani tradition, the epistemic system of ancient Iranian thought, and the spirit of Aryan ideology, inspired by the Shahnameh of the community, is embedded in a long-lived tradition. In such circumstances, Mehr Ali could find a way out of the common manifestations of naturalism by creating artworks in Qajar portraiture style. Mehr Ali's works contain elements that code and have significant cultural connection with the literary narratives of poets, elements of former Iranian paintings, ancient sculptures, Iran’s mythology, heroic, national patterns, etc. In Mehr Ali’s paintings, Fath Ali Shah is glorious, magnificent, luxurious, and slim-waisted with broad shoulders who has a dagger, a golden sword and a luxurious garment full of patterns. The painting is also full of intricate jewelry. All these refer to the infinite power and wealth of the king. Using transparent colors, a cane with the symbol of the legendary chicken and the crown of the king, he has included symbolic meanings in his paintings .The use of symmetry is evident in the works of Mehr Ali. Folk elements in his work have been largely ignored, and by exaggerated usage of luxurious elements, he tries to depict Shah’s wealth. Because of their highly expressive capacity, Mehr Ali's works can be studied and analyzed by all five approaches of Gerard Genet's Transtextuality. Since Mehr Ali's works are considered adaptations, they are in the category of Inter-Semioism which causes the conversion and duplication of texts. It should also be noted that as a creative artist, Mehr Ali himself was the originator of visual themes and images of his works. Mehr Ali has used the hypertexualities from literature, elements of Iranian painting and miniature, surviving carvings from the historical past of Iran and so on. Mehr Ali has surpassed all other Hypertexualities in his works and he expressed his secrets in an innovative way and created hypertexual artworks. 

The aim of the present research is to investigate the relation between phenomenology and language, and to comprehend the cognitive experience by reading a literary work or an aesthetic text. It also addresses the process of pure perception and visualization of an object in the mind and the relation of body to the world within the phenomenal field. The present study delves into John Berger’, s A PAINTER of Our Time (1958) in order to examine the PAINTERly process of expressing an array of human sensations and experience of the world, eventually revealing the truth. The phenomenological philosophy of Maurice Merleau-Ponty enables an intersubjective interaction between “, body”, , “, experience”, , language and “, perceptual world”, . This study thus seeks to address the mechanics of the PAINTER’, s mind, exploring the root of being and eventually explaining his style and mute meaning. Focusing on whether visualizing, reading, and thinking through a work of art in a text, could provide an aesthetic experience of the text ultimately brings an aesthetic judgment of a work of art based on the knowledge gained through the literary text. Consequently, the readers, positioning themselves in the synesthetic and experience of the text, develop a new visual and aesthetic experience of the world.

  After Naser al-Din Shah came to power, many PAINTERs traveled to Iran as a result of the relationship between the Iranian government and the European governments. They, who were often brought up in Western Academies and knew the techniques of Western painting, by depicting the landscapes of the Eastern lands, especially the Middle East, reached a special way of expression that became known as Orientalism. Alberto Pasini is one of the last and most well-known PAINTERs who came to Iran in the middle of the 19th century, and went to several other Asian and African countries. This is an experience that changes the whole path of his artistic life. Pasini joins the Orientalism style by crossing the Barbizon School. This research, with documentary evidence, some of which have been recently discovered, and with the aim of studying and examining the works of Pasini (an Italian PAINTER of the Naseri period), tries to answer these questions: What approach did Pasini bring to Iran from the painting of his time? Which method and approach has Pasini chosen? How did his objectivism, which was rooted in the principles of Western art, have an effect on the works of other artists of this period in Iran? The result of this research shows that Pasini, who was influenced by the Barbizon School, joined the Orientalism after returning from Iran. While Pasini's meeting with the PAINTERs of this period is not visible, except for Naser al-Din Shah, but with the evidence available from other ways, such as gravure postcards, the works of European art masters made an impact on traditional PAINTERs such as Mirza Emmi's and Najafalis, as well as western educated artists like Kamal-ol-molk. In this study, the works produced by Alberto Pasini from Iran, including nine oil paintings and two drawings, in addition to his unknown painting in Tehran's Golestan Palace, are discussed, and next to that, three works by three traditional prominent artists are examined: Hosseini Emami, Ahmad Najafali, and Hossein Musavar-ol-Mulki, who were inspired by a famous painting by Ingres, one of the pioneers of Orientalism, which came to them through a postcard.During the Qajar era, many European PAINTERs came to Iran, often made their ways to the court. Alberto Pasini is the most famous artist, after Jules Laurens, and one of the last official ambassadors who also had the longest stay at the court. He was the envoy from the French government to Naser al-Din Shah, the King of Iran, who had just sat on the throne. During his mission, Pasini did valuable works of drawing, painting and engraving from Iran’s landscapes and cities. He belonged to the era when PAINTERs were generally depicting historical and mythological subjects. Ingres believed, like many other classical masters, that Raphael should be revived, on the other hand, Delacroix was a radical PAINTER, and Courbet got his own way. Pasini came to Iran when the photograph had just been recognized as a document for representation in foreign missions, which is why he benefited from objective naturalism and, as recently revealed, the use of photography in his works. It seems that during his stay in Tehran, Pasini was often in the court and he went hunting with Naser al-Din Shah. He then drew many landscapes from unknown regions and painted them when he returned to Europe. There is no document of his meeting with other artists of this period in Iran.Orientalism in the 18th century during the Age of Enlightenment, and the Barbizon School in the mid-19th century, are two important artistic events that continue into the 20th century. In the West, the interest in the Eastern culture, which was aroused by the publication of the first translation of Golestan, written by the Iranian poet Saadi, and the translation of One Thousand and One Nights, then found many followers among Romantics, Realists, Academists, Barbizon artists, Impressionists and even later modernists such as Kandinsky and Matisse. By turning their backs on conventional mythological or historical subjects, and being interested in nature and the ordinary beauty of its environment, the Barbizon artists were able to adopt personal methods, emphasizing outdoor painting instead of painting in the closed space of the studio. They did not create a unique school, but due to their distance from prevailing idealism in art, they claimed poetic art, like realists and especially naturalists. Alberto Pasini, a follower of this movement, came to Iran with the poetic nature he was interested in. In addition to influencing the artists of this period, he could be a precursor to the school known as Kamal-ol-molk, as well as to make a name for himself.Alberto Pasini was born in 1826, in the small town of Busto in Parma, Italy. Two years later, his father died and Alberto's mother took him to Parma with four other children. In Parma, Alberto began to learn painting under the tutelage of his uncle, who was an accomplished PAINTER and illustrators. At the age of seventeen, he enrolled in the Academy of Fine Arts of Parma in the department of landscape painting to pursue his interest more seriously. Like many PAINTERs of that time, he also sought success, and with the encouragement of one of his professors at the Academy, he went to Paris in 1852. First, he joined the Barbizon group in a village near the forest in the suburbs of Paris where many PAINTERs such as Theodore Rousseau, Corot, and Courbet frequented visited. The Barbizon community was strongly opposed to the historical subjects of academic PAINTERs and tended to paint from nature. They started plein air painting, which was later carried forward by the Impressionists. The Barbizon's worked on their painting half way in nature and then completed it in their studios.Among the many European PAINTERs and photographers who came to Iran during the Naseri period, none had the fame of Alberto Pasini, to the extent that he was entitled the Prince of Orientalists. By traveling to Iran, he could get acquainted with various aspects of Islamic art and tradition, give them a new depth in his works. The path that begins with Laurens and Pasini was manifested in Iranian painting in different ways which were not as rigid as the academic methods, and not as free and unrestricted as the romantic methods, but had the ability to go beyond cheap imitative realism.Pasini should be considered as one of the last generation of PAINTERs of the nineteenth century who still directly understand and represent the reality, the generation of PAINTERs who still haven't completely forgotten to look as a result rampant photography. Although Pasini's paintings try to show reality, they are not photolike paintings.Among the works attributed to Pasini during his trip to Iran, there are no portrait paintings, which seems to have more to do with his stark realism than with his skill in portraiture, and perhaps with moral-cultural considerations.In the works of the artists of that time, as shown in the work of Hosseini Emami in the reproduction of a portrait by Ingres, objectification and imitation are still far from the standards of Western painting. The tendency to paint religious places such as mosques or bazaars and abandoning the portraits of courtiers and elites and turning to landscape painting in the Sschool of Kamal-ol-molk is considered a bold and modern action, the roots of which should be sought in western painting and the presence of western PAINTERs in Iran. In this way, the influence of Pasini and other orientalists on Iranian painting during the Qajar period can even be compared with the influence of photography during this period. 

Understanding the identity of Iranian PAINTERs and designers is a significant issue that, beyond elevating their status, can contribute to clarifying aspects of the history of Iranian art. Although Safavid miniature painting has been studied extensively from cultural, artistic, and stylistic perspectives, the position and role of Muzaffar Ali-whose artistic essence is embedded in his brushwork-have been less examined. This artist created numerous works in various Safavid court libraries, the most prominent of which is the Muraqqa Amir Hossein Beyg. This study employs a historical-descriptive method and a monographic approach, based on archival research, to describe Muzaffar Ali’s life and analyze the visual structure of his works. The results indicate that Muzaffar Ali was not only a master of painting and illumination but also excelled in other arts of calligraphy and imagery, and that he played a pivotal role in the artistic transition by transmitting traditional visual teachings to subsequent generations of artists. The page designs of the Muraqqa attributed to him are considered outstanding among Safavid albums. He was an influential PAINTER, a creative designer, and a distinguished artist of his era, with his works-especially the Muraqqa-being among the exquisite masterpieces of the period.Research ObjectivesTo introduce Muzaffar Ali and understand the context of his activities during the Safavid era.To examine Muzaffar Ali’s works and albums from formal and content perspectives.Research QuestionsIn which fields of visual creation was Muzaffar Ali active as an artist during the Safavid period?What formal and content characteristics do Muzaffar Ali’s works, especially the Muraqqa Amir Hossein Beyg, exhibit?

"Laszlo Moholy Nagy" is one of the Famous and well-known artists of 20th Century which has significant art works in a variety of art fields. At first he completed his education in law then engaged in learning art and chose "Constructivism" as his art style. This research which is a Comparative-Causal one has been done by referring to valid reference books on art and also some valid graphic sites and analyzing the data obtained from them. This artist has many art works in the fields of letter design, photography, painting, sculpture, film making and etc. which despite of their different nature and field presented in the text of the article- a basic and dominant similarity is seen among them as a whole. It can be said that by creating a work another one is created from it and by inspiring from it influenced by "Constructivism" style. Considering the studies conducted, We can suggest that initial education of this artist in Law, a field with an orderly and organized nature, is most likely not without relationship with choosing "Constructivism", an style with similar Characteristics, as the dominant style in his art works. The subject of this research is finding the grounds of his tendency to Constructivism. With a closer look at this artist's life, it seems that at first his personal and spiritual characteristics led to his selection of law for study and considering the nature of this field which was "Nagy's" field of study before his engagement in painting, it has likely played a major role in organizing his orderly and regular manner through a mutual effects which these reason- based qualities and the art study Constructivism are comparable to some degree. Therefore perhaps the earlier education of "Moholy Nagy" has had some effects in his tendency to Constructivism in the art world. Works presented in this text are completely in harmony with Constructivist qualities and keeping modernist functionalism, free from including details in them. These characteristics are attainable by dominance of reasonable order in accordance with culture and society surrounding the artist and emerge in the context of the harmony of all conditions which the modern civilization period can be thought as overcoming of the reason-based aspect. On the other hand many various visual words in the field of latter design, photography and photogram, volume and painting have been created by this artist that in addition to the fact that they have completed on the basis of different art platforms, but are completely similar in terms of structure and configuration. This can be on the basis of the Constructivism philosophy which believes that "everybody accept one basis and principle as the rule and logic and select his method on the basis of it". "Moholy Nagy", on the basis of the same rule, has applied very apparent similarity in some of his words or perhaps because of having that order-seeking and Constructivist spirit, tendency to creating such works has always been with him.