ART is one of the most important tools in cultural exchange, the production and reproduction of values, which is of interest to countries, and the Islamic REVOLUTION, for reliability and dynamism, needs the protection of the values and norms that formed the cultural-ARTistic foundations of the Islamic REVOLUTION. It is that the tool of ART plays a significant role in the production and reproduction of these values and the preservation of the culture of the Islamic REVOLUTION. In this regard, the statements and thoughts of the Supreme Leader. as a first-class Islamic jurist who has a correct understanding of REVOLUTIONary ART, are of great importance in better analyzing and explaining the foundations and principles of REVOLUTIONary ART. Therefore, the following ARTicle, using the descriptive-analytical and documentary method (statements of the Supreme Leader), seeks to answer the question, what are the characteristics of the fundamentals and principles of REVOLUTIONary ART from the perspective of the Supreme LeaderThe results of the research indicate that obtaining the creator's satisfaction can be considered as one of the primary and important fundamentals of REVOLUTIONary ART. Among other principles of REVOLUTIONary ART, we can mention promoting and strengthening the noble concepts of the REVOLUTION, building self-confidence, creating an audience, attracting an international audience, synchronizing with intellectuals, raising awareness, understanding needs and rationality. What can distinguish REVOLUTIONary ART from other ARTs is the principles of REVOLUTIONary ART. Rationality and maximum use of thinking power is one of the most prominent principles of REVOLUTIONary ART Spiritual value, being popular, commitment, increasing insight, showing values and not losing oneself by seeing beauty are other principles of REVOLUTIONary ART

The present ARTicle analyzes the contemporary post REVOLUTION wall painting ART and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power.The main hypothesis in the ARTicle is that the wall painting ART is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post REVOLUTION wall paintings in the city of Tehran. The way the present ARTists act, the position and place of this ARTistic field in social, political and ART situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the REVOLUTION.The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre REVOLUTION paintings and is based on the cultural capital which is itself resulted from the current political governance.The dependence of wall painting to the field of power, in the height of REVOLUTION and simultaneous with its victory, connected this ART to the main focus of power, the Mass and REVOLUTIONary forces, and was supported and confirmed by the REVOLUTION after its consolation and establishment of field of power.

The purpose of this study was to identify and explain the factors effective on the excellence of cultural-ARTistic organizations in the provision of ART education services. This qualitative study was a case study of the Islamic REVOLUTION ART Field Organization. The statistical population included the managers and experienced office clerks of the foregoing organization from among whom 13 individuals were selected based on theoretical purposive sampling. After transcribing the semi-structured interviews, the six-stage strategy of Braun and Clarke was used for coding and the thematic analysis method to analyze and interpret the codes. Sixty factors effective on the organizational excellence of the ART Field Organization in the ART education service improvement arena were identified. These were classified as 6 main categories, including goals and strategies, leadership, environmental factors, human resource management, resources and infrastructure, and axial activities. The results of this study can help improve the organizational excellence of other ARTistic-cultural organizations of Iran that provide educational services.

Based on the theories of sociology of ART and cinema, we can use the analysis of ART and cinema works for a better understanding of social groups. As Duvynyu believes, cinema has a close relationship with its social context, hence can be an index to measure social and cultural statues. In this ARTicle, Tehran will be analyzed from the perspective of ART sociology that is a subset of cinema sociology and urban sociology, in visual and visibility of cinema before the REVOLUTION. With overview of Iran’ s cinema from the inception and in-depth reviews of Iran’ s cinema in 40’ s and 50 solar years, we had tried to Readout and analyze Changes in behavior and cultural norms and socio-economic transformation and Their impact on behavior and urban norms, Through cinema films which were made in this period and Urban space in these films By semiotics. In this study through the interpretation of four films which were among the most effective film’ s of that two decades (Brick and Mirror and Reza Motorcyclist). Cinema and movies have the potential to be a mediate of our understanding of the society and its changes, as a socio-cultural element can take us into the deep layers of our social life, and can reflect a relatively deep understanding of the situation of these groups. It also can reveal its contemporary social conditions in the society. Cinema is a product of modern society, so, from the beginning, the cinema has conjoined with a modern metropolises and the image of the most well-known capitals has been recorded very soon in the media. In fact, the cinema, like the other ARTs, but with far greater capabilities, passing through early experiences, realized the role of city and burgher of modern society very fast, not just as a story background, but also as a subject, the ART of cinema. However, beyond and deeper than the other ARTs, the cinema may penetrate into the hidden layers of urban life. Filmmakers, consciously or unconsciously, reflect a pART of the spirit of their times and society in the cinema and for this reason, their views about the city are a pART of the legacy of sociological knowledge of the city. In the present study, the aim is to refresh the image of Tehran in Iranian movies and through it, we will analyze the view of the city and urbanization, city modifications and changes in behavior and cultural and socio-economic norms from the perspective of ART sociology that sociology of cinema and urban sociology are subset of it. Cinema is one of the most important cognitive tools which can help us in understanding social issues. Since the selection of presented best works of before the REVOLUTION in this ARTicle are analyzed and interpreted, given the status of Cognitive position for cinema, we can find common urban problems in this pARTicular historical period and also a pART of mind, unconscious social and public response of Tehran cities’ citizens with this city.