This article is an investigation into the position, importance, and effect of IMAGE on Iranian portrait PAINTING. It is an intertextual analysis of Persian poetry and PAINTING, focusing the elements of mysticism in both. The discussion is documented offering PAINTINGs from different Persian PAINTING schools so that it can better show how this field of art has always used the element of IMAGE and mystical understanding to convey a figurative universe. The article, first, introduces IMAGE and its position in Iranian PAINTING, then contrasts the figurative elements in both Persian poetry and portrait PAINTING, and finally concludes that Persian PAINTING, using institutionalized signs and symbols in poetry has created its own figurative and ideal human.This feature can be found in Persian PAINTING up to the first half of Qajar reign in the 13th century A. H.

Problem Definition: The mystical life, larger sizes, long life, death and life renewal, have caused the tree to have different meanings and sometimes even in ancient times to be sanctified as a mediator between human being and God and introduced as a symbol of freshness, peace and beauty, reflection of the relationship between God and human being, symbol of the whole tangible world, combination of heaven, earth and water and a symbol of light. In PAINTING, especially the Herat school, the different functions of the tree IMAGEs are observable. The present research addresses the different function of the tree IMAGE in the PAINTING of this school. Objective: The present research aims to acquire more knowledge about and be aware of the visual possibilities of the tree in Herat school. Research Method: Based on a descriptive-analytic manner and then the adaptation of narrative, incident, text and IMAGE and using library and archival resources, the present study has examined the PAINTINGs of Herat school. Results: In this research, it was found that the IMAGE of a tree in Herat PAINTING, in addition to the “ decorative” and “ symbolic” functions, points out to the incident of PAINTING alongside the text and echoes the main story in a visual form. In this way, the IMAGE of the withered tree is a reflection of the death narrative of the fictional character while that of the blossoming one reflects the narrative of hope, as well as shadow spreading. Also, the tree reflects the story of the king’ s power and glory.

Problem Definition: It is noteworthy to study the presence of women in contemporary PAINTING in the two neighboring countries of Afghanistan and Tajikistan and to process similar aspects within a civilization like culture, language, and art. Moreover, the type of government of the two countries as the Islamic Republic and Republic, and the proximity of Tajikistan to Russia and other civilizational factors, despite all the similarities, have caused differences in the representation of women in contemporary PAINTINGs of the two countries. The current study questions which artists from these two nations have depicted the female face in their works, as well as evaluating the similarities and differences between them? Objective: The present study to explain and be aware of the similarities and differences between the representation of women in contemporary PAINTING in Afghanistan and Tajikistan. Research Method: The present study follows a descriptive-analytical method by using existing library resources and archives. Results: The portray of women is similarly represented in both countries. In contemporary Afghan PAINTING (from the Amani era until the end of Ghani's presidency), double symbolism in the representation of women in the realms of love and self-sacrifice is observed and in Tajikistan, the religious narrative of the woman as Eve and the beginning of the universe is also traceable. The female body is also a means of expressing and confirming the sufferings of this segment of Afghan society, and realism verifies these pains. On the other side, the representation of the female body in Tajikistan is based on the application and equivalency of Western academic teachings. In addition, realism in the recording of women's daily lives is seen in the works of both countries. Thugh, there is a aimsstrong emphasis on problems such as women's suffering and tradition critique, freedom of speech, and women's rights in Afghanistan compared to Tajiks. The contrast between tradition and modernity is present in the PAINTINGs of both countries, but in Afghanistan, in addition to diversity in style and materials, it emphasizes the critical aspect, while in Tajikistan, this has led to more diversity and imitation in style. What is important in the representation of women in contemporary PAINTING in both countries is the concept of respect and admiration towards women.

 After the triumph of Islamic revolution, the paradigm of modernism, which had previously dominated the Iranian art scene under the Pahlavi regime, underwent a radical shift. Traditional Iranian arts, including Iranian PAINTING (Miniature), were now regarded as emblematic of contemporary Iranian art. The discursive signifiers of revolutionary art were the challenge between Traditional Iranian art and the Western art, as well as the intricate interplay between artistic form and meaning. This revolutionary art endeavored to craft a new form of contemporary Iranian art aligned with Iranian-Islamic culture. Amidst the ongoing discourse between modernist and traditional art, the terms "modernism," "traditionalism," and "neo-traditionalism" surfaced. Simultaneously, the fundamentals of religious arts were elucidated and articulated for artists in response to the exigencies of the contemporary era. Thus, this positioning of religious arts laid the groundworks for art journals and institutions to consider PAINTING as the means of investigating the identity of contemporary art.The concept of "modernism" in traditional PAINTING, miniature in particular, was so legitimized during the post-revolution traditionalism paradigm that it implied the adoption of a contemporary lexicon to interact with the audience of revolutionary art in Iran and the world.Traditionalist publications, conscious of revitalizing Iranian artistic traditions, directed a special spotlight on Iranian PAINTING (miniature). By referencing Islamic PAINTING's cultural and artistic heritage, these magazines sought to formulate a novel language of expression rooted in the revolutionary art movement. Conversely, magazines aligned with "modernism" paradigm considered traditional arts, including Iranian PAINTING, belonging to the glorious past, and not to the contemporary era.This paper aims to describe the concept of contemporary Iranian PAINTING in the contents of 12 specialized artistic or cultural-literary journals: Faslname Honar, Keyhane Farhangi, Soure, Honare Moaser, Honarhaye ‎Tajassomi, Binab, ‎Tandis, Golstane Honar, Adabestane Farhang & Honar, Kelk, ‎Adineh & Donyaye Sokhan. The research endeavors to address the following query: How has the portrayal of contemporary Iranian PAINTING been constructed within post-Islamic revolution cultural-artistic journals?  Reviewing the ‎data from selected texts, this study extracts and analyzes the recurring themes related to Iranian PAINTING across these twelve journals published over approximately three decades (1981-2013) post the Islamic revolution.This issue is important for understanding the current situation of the Iranian PAINTING as a cultural asset and to achieve its contemporary language.In this research, the data has been purposefully collected and analyzed by thematic analysis method through the study of documents that have played a role in the construction of the IMAGE of miniature in the Iranian post-revolution art.The theoretical framework of this research draws from theories concerning the contemporaneity of art.  "Contemporary" is a concept contingent upon temporal definitions, each shaping a unique interpretation of contemporaneity. Philosophical perspectives on "contemporaneity" inform the understanding of contemporary miniature PAINTING within the modernity and postmodernity intellectual paradigms.According to Kandinsky, every art work is a child of its "time" and every cultural era creates its own special art which is unrepeatable. From his viewpoint, time and place are considered two outstanding factors in determining the artist's relationship with contemporaneity, which ends to a structure in artistic style to distinguish any art era from other eras, based on the "artist's point of view".The findings of this research underscore that the concern for "identity and contemporaneity" within post-Islamic revolution Iranian PAINTING engaged intellectual discussions in cultural-artistic journals, resulting in a spectrum of perspectives. These viewpoints range from considering contemporary miniature as an eternal art rooted in historical truths to perceiving it as belonging to a bygone civilization incongruent with the "modern" epoch.These Diverse ideas fluctuate from the two points of view; one concerning this art eternal, and the other considering it as dedicated to a vanished civilization. The study unveils the existence of diverse constructions of contemporary Iranian PAINTING across three paradigms: "traditionalism," "neo-traditionalism," and "modernism." The prevalent global language of art and the prevailing zeitgeist influenced the distinct IMAGEs crafted within each paradigm. While modernism and neo-traditionalism conceive contemporary arts as reflective of the modern era, traditionalist magazines position contemporary miniature PAINTING within the context of globalized contemporary art.The analysis of themes in this article showed that the nature and identity of Iran's contemporary PAINTING and its perspective in 6 specialized art magazines " Faslname Honar, Honare Moaser, Honarhaye ‎Tajassomi, Tandis Golstane Honar,and Adabestane Farhang & Honar" and 6 art-cultural magazines "Keyhane Farhangi, Soure, Binab, Kelk, ‎Adineh and Donyaye Sokhan " is ambiguous.As a result, different ideas of contemporary Iranian PAINTING were constructed out of 3 paradigms: "traditionalism, neo-traditionalism and modernism", which are different in each paradigm according to its view to universal language of art, era and time.In the modernism and neo-traditionalism paradigms, which contemporary arts are "modern-day" arts, it seems that the idea of ​​contemporary miniature was embodied in an IMAGE that became homogenous with the dominant art of this era - that is, the modern and postmodern art of the West.Honare Moaser, Honarhaye ‎Tajassomi, Tandis, Adabestane Farhang & Honar, Kelk, ‎Adineh & Donyaye Sokhan journals, by considering the traditional principles of this art, described its contemporaneity in accordance with globalized contemporary art.On the other hand, by adopting a theoretical approach, the magazines inclined to the traditionalism paradigm, based on the belief in eternal time and the stream of the remaining time in various historical eras, including the current era, formed the concept of contemporary miniature in a distinct IMAGE. By referring to the trans- temporal truth of miniature and the discovery of its forgotten language, it is possible to create a language could communicate to art of the world based on the "trans temporal-eternal" nature of this art.Faslname Honar, Keyhane Farhangi, Golstane Honar, Soure and Binab journals have been more aligned with this theoretical approach.In a general view, constructing a coherent IMAGE of contemporary miniature was not formed in any of the two mentioned approaches. The clash of opinions in this regard did not approach to a specific direction. one reason is the gradual decrease in the publication of specialized non-academic cultural-artistic journals, as a mean for elite thinking to raise fundamental questions concerning the identity of Iranian contemporary art and exploring to find their answers.

Buraq-the Prophet’ s horse in Ascension night (Miraj)-is a rare example of mythological animals which served as the mediator for the realization of human supernatural experiences. In the oldest existing Islamic accounts on the Ascension, this steed has been mentioned; although there are numerous differences in the details and descriptions of the subject matter. Most narrations depict a white animal the size of which is between a mule and donkey. It has red eyes and there are two wings located around its thighs. This steed rides the scope of its vision in each of its steps. There are other narratives that portray Buraq as the steed for other prophets as well, especially Abraham. This paper aims to study the evolution of the Buraq IMAGE from the 7th to the 13th centuries AH, and answer this question that what visual developments the Buraq’ s IMAGE has undergone since the Ilkhanids rule to the Qajars? In this research, 10 books of ‘ Mirajnameh’ dating back to 7th-13th century AH were studied. According to the selected Buraq IMAGEs, the process of formation of Buraq’ s body parts might be classified into three general groups based on visual characteristics: the wingless, the winged and the one possessing the tail of the Sassanid Simurgh peacock. In the abovementioned historical periods, Buraq has been depicted as a creature possessing a human being’ s upper body the lower body similar to a horse, with a feminine face, long and crowned hair, having elegant, long, slender and strong, moving legs, and the face and limbs shown in three quarter views. The differences include the appearance of the tail: the Ilkhanid’ s Buraq has a thick and short tail; the Timurid’ s Buraq has a longer yet thinner one while the Safavid’ s Buraq and in particular the Qajar’ s, has tail similar to that of a peacock. In PAINTINGs of the Timurid period, Buraq has a sparkling, charming, round and angel-like face, hair hanging down from head sides with the end of the hair round in shape and Buddhist style, stretched earlobes. It is portrayed wearing Mongolian golden hat, the shape and color of which differs in some PAINTINGs. In Miraj miniature created by Sultan Muhammad, ‘ the Prophet riding Buraq’ , all the principles of illustrating the horse and riding has been observed beautifully, as if Buraq is floating weightlessly in space. Buraq wears Safavid hat on his head and his body is depicted very strong and powerful. Its body color is transparent with legs slightly darker while the under the throat shines. Till this point of time and in these versions of narrations, the Buraq is wingless. Buraq appears with two wings at the beginning, but in Timurid and Safavid versions, it is portrayed wingless while its Qajar version is winged. The paper comes to this conclusion that the IMAGE of Buraq in this period has been relatively influenced by Quranic verses and narrations. Often Buraq is illustrated in three quarter view with its ornaments corresponding to the prevailing characteristics of its respective historical era. The Mongolian face is the characteristic of the Illkhanid period while the Buraq of Tabriz II School of PAINTING has a fit body as compared to the Buraq of the Herat school miniatures. It is elegant and beautiful, with more decorations. This Buraq is more vibrant in color and dynamic in movements and thus suggests the state of happiness, quick movements and ascension more to appear more imaginary and abstract. If Buraq is illustrated beautifully in some miniatures of Herat school PAINTINGs and glorious in others, the Buraq illustrators of Tabriz II School-particularly Sultan Mohammad-have combined beauty and splendor into one form. Due to the illustrator’ s personal impressions, folk beliefs and oral culture in the narration of the story of ascension on one hand, and impact of the western art style on the painters on the other, we are witness to changes in Buraq’ s drawing during the Qajar era. In this period, the Buraq is fat, wearing a long Qajar crown on head. Interestingly, peacock had turned to a symbol of the Shi’ a tradition and was considered a bird from paradise, so the use of peacock’ s tail became a main characteristic of Buraq and was exaggerated in the pictures. Putting feminine head on a thick neck for Buraq decreased the elegancy of the PAINTINGs during the Qajar reign, thus indicating the reducting of the artists’ attention to religious texts. The research has been conducted through descriptive-analytical method and the desk study of library sources.

Purpose: The study purpose was to determine and compare the Recall and Precision of Bing and Google IMAGE search engines for content based IMAGE retrieval. Methodology: The research used webometrics and comparative methods. Population includes IMAGEs stored in the databases of Bing and Google search engines, and research sample includes 15 selective IMAGEs searched in any of search engines. All the retrieved sources through the IMAGEs by IMAGE content based IMAGE search were gathered, results’ Recall and Precision measures were calculated by relevance formula and their average percentage were obtained. Research hypotheses were tested by U Mann-Whitney test as well. Findings: Findings showed that the Google search engine functionality was higher with recall measure of % 88. 73 than recall rate (%20. 86) for Bing. But Bing search engine had higher precision (% 99. 86) than Google (%94. 80). Results: Hypotheses tests on recall and precision in two search engines’ IMAGE retrieval showed a significant difference for recall in favor of Google, indicating its better functionality than Bing but there was no significant difference between them concerning precision since both showed fair precision however Bing was relatively useful.

In this paper, an alternative approach in operational modal analysis is presented, utilizing IMAGE processing technique and transmissibility functions. Imaging sensors do not impose additional mass on the structure due to their non-contact nature, while transmissibility functions, independent of excitation type, can directly extract mode shapes. The innovation of this research lies in combining these two techniques to record dynamic responses and identify modal properties. To capture the temporal response history from video signals, the block-matching method with sub-pixel accuracy was employed. Validation was conducted by recording the response of the tip of a cantilevered steel beam subjected to impact excitation, using a high-speed camera and a laser vibrometer, simultaneously. The RMSE plots in the time domain and the PSD in the frequency domain indicate high accuracy of this method. Using this approach, the displacement time histories of various points on the structure were extracted from the video signals, and the modal properties, including natural frequencies, damping ratios, and mode shapes, were identified using the transmissibility matrix method. The results obtained from the proposed method were compared with the stochastic subspace identification (SSI) method and analytical solutions. The findings reveal the accuracy of the modal identification approach introduced in this article. The highest relative error in estimating the natural frequencies of the first and second modes, compared to the values from the laser method, are 0.19% and 0.13%, respectively, and in comparison to the analytical values, they are 0.34% and 1.5%, respectively.

Sogdian PAINTING in terms of both content and form has a direct relationship with Persian PAINTING and its roots such as the Sasanian art of and Manichaean art as well. In other words; the opinion of those Russian art researchers who know the art of Transoxiana (also called Fararud / Ma Wara'un-Nahr) apart from Iranian art is incorrect, since this art is indeed part of Persian art, but independent from the Sasanid Court.Being far from the power center not only led the rich Sogdian artists to be more creative, but it made also possible for them to loan some artful elements from the neighboring lands and mix them with those of Sogdian art.Moreover, this distance made it possible to preserve the past heritage in different dangerous situations like Alexander or Arabs attacks, and it was reasonable that the first intellectual, cultural, and art movements of Iranian started from the Great Khorasan and Fararood. Hence, Sogdian art had latitude in portraying folklores, mythical- athletic legends and women's stories; the subjects which never found the chance of appearance in the official or Sassanid courtier art.Sogdian PAINTING, with the consideration of its executive style and the themes in common with those of Persian PAINTING, could have been an inspiring source for the Iranian art. This inspiring headspring has neither the fundamental difference of themes and aesthetic nor the time distance with Byzantine art .Moreover, it has also no Ideological and color bases differences with Chinese art and the themes’ maladjustment or the Hirbodian mood of Manichaean art as well.Objectives:1- Looking for origin of Persian PAINTING of Islamic era.2- Understanding the similarities between Sogdian PAINTING and Persian illustrations.Questions:1- What similarities exist between Sogdian and Persian miniature PAINTING?2- How it is possible to indicate the relationship between Sogdian and Persian miniature PAINTING, and to express this trade?3- What was the role of Khorasan and Fararud or in other words, the East of Iran in this process, particularly facing with the invasions of these nomads?

Throughout history, art has been an eloquent language to meet the goals set by human beings and artists. In particular, art enjoys a basic status in such complex subjects as revolutions. In Iran, the works portrayed by artists during the Islamic Revolution display the influence of the then prevailing atmosphere on artists. Many artists have created works in this period with such topics as martyrdom, sacrifice, women, etc. considered works to be contemplated. This is while, women and her personality in the society was one of the most important issues whose views and position changed fundamentally as the Islamic Revolution appeared,this issue was widely reflected in the works of that period. In the present article, attempts were made to investigate the PAINTINGs by the artists of the Islamic Revolution with an emphasis on the works of Kazem Chelipa as one of the painters of the Islamic Revolution, whose female character constituted the main axis of his works. In this way, while analyzing and investigating the works, the issue of identity with the focus on the role of women was addressed in the form of symbols and signs used in the works intended. This study concludes that most of the artists' works during the Islamic Revolution was the same in terms of objective and content and that there is an issue, which is trying to express the ideals of the revolution, the effectiveness of women during the Islamic Revolution and the importance and recognition of existential and true identity. This research used a descriptive-analytical method and a library technique.