Introduction: Social responsibility from an ethical point of view includes the obligations and duties of natural and legal persons towards society and the environment. The moral behavior of people, like understanding of social responsibility, depends on their liberal ideology, beliefs and human values. Therefore, the aim of the current research is to study the relationship between liberalism and human values with the moral understanding of social responsibility. Material & Methods: The research method is applied in terms of purpose and descriptive-correlational survey. The statistical population includes the financial managers of the companies admitted to the stock exchange, and the questionnaire was randomly distributed among them and 110 questionnaires were received. The sampling method is random. The research tool is a questionnaire and multivariate regression using SPSS software was used to analyze the data. Results: The research results show that human values based on public interest have a significant and positive relationship with the moral understanding of social responsibility. But the thinking of liberalism does not have a meaningful relationship with the moral understanding of social responsibility. Conclusion: Based on the findings of this research, human values based on public interest can be considered as a tool to strengthen the moral behavior of company managers regarding corporate social responsibility. Also, improving the thinking of liberalism in managers can strengthen their social responsibility. In this case, the policy makers of Stock Exchange can direct the managers of the listed companies to comply more with the social responsibility of the company, through teaching human values and strengthening those values, as well as monitoring the implementation of ethical regulations

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?

After the end of the Qajar period, the Iranian art was more influenced by Western culture and art. Due to the influence of Western culture and art, more modern trends entered Iranian art. The Persian painting, which had stagnated for a long time from the Isfahan school, was transformed by artists such as Hadi Tajveidi, and through that, the Tehran school of Persian Painting was established. The Tehran school of Persian painting under the influence of the cultural and artistic atmosphere of the Pahlavi period, while benefiting from the artistic techniques of old painting and paying attention to innovation while preserving the roots, meeting the needs of contemporary audiences and points such as Iranianizing the faces to do it Painting faces were influenced by Chinese and Central Asian faces before Tehran school of Persian Painting. The Tehran school of Persian Painting, which was formed during the first Pahlavi period, left a significant impact on the painting of the second Pahlavi period and then on the painting after the victory of the Islamic Republic.  With the forward movement of contemporary painting, some works of painting were placed on the border between Persian painting and modern painting, and some works of modern painting also took many signs of old painting under the influence of the atmosphere that demanded Iranian identity. The present article has searched for the answer to the question that how and through which examples of contemporary Persian Painting and painting have received the effects of ancient Persian painting? The main purpose of this research was to formulate and categorize the methods of referring to ancient painting in contemporary painting and painting of Iran. The present research was written in a descriptive and analytical method and in a quantitative and qualitative way, and its statistical population included all paintings and drawings of the 14th century of the solar Hijra; From this large statistical population, twenty-three works have been selected and discussed. From the results of the present research, the recognition and classification of four main currents influenced by ancient painting in contemporary Persian painting and painting, three of which are placed in the category of contemporary painting due to their undeniable similarity with ancient painting, and the fourth category Due to the innovations that go beyond the framework of old painting, they have the possibility to be named with the names of modern Persian Painting, illustration and modern painting.

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.

Background: Automobile spray painting is considered a high-risk occupation for respiratory diseases. The present survey aimed to assess the effects of automobile paint vapors on spirometric parameters among workers of a painting workshop in a large automobile manufacturing plant in Iran. Materials and Methods: This cross-sectional study was conducted on 820 workers of an automobile manufacturing plant, including 431 spray painters (case group) and 389 assembly line workers (control group). Spirometry was conducted for all participants under standard conditions, according to the American Thoracic Society (ATS) Clinical Practice Guidelines. The forced expiratory volume in one second (FEV1), forced vital capacity (FVC), FEV1/FVC, and forced expiratory flow at 25% and 75% of the pulmonary volume (FEF25-75) were reported. Results: Painters with more than ten years of work experience had significantly lower predicted values of FEV1/FVC (P= 0. 005), FEV1 (P=0. 008), and FEF25-75 (P=0. 003), compared to the control group. Also, painters who were exposed to solvent-based paints were not significantly different from those exposed to water-based paints in terms of spirometric parameters (P>0. 05). Conclusion: The results indicated the impact of automobile spray painting on the spirometric parameters. A slight decrease in the mean values of these parameters calls for attention to occupational safety, regular medical examinations, and effective measures.

Problem Definition: As a multifaceted medium, garden paintings have included the social structure and power relations of the Safavids. The scientific challenge of the current research is to identify the ideology of the Safavid government in the hidden textual layers of garden paintings, the components related to symbolism, and Iranian culture in the heart of the Safavid society. In the present research, the following questions are addressed: What components and symbolic elements are the social relations of the Safavid period narrated in the text of garden paintings? How is the ideology and attitude of Safavid artists illustrated in garden paintings? Objective: This research seeks to investigate and understand the relationship between the texts of paintings related to the theme of the Iranian garden in the scope of the socio-cultural structures of the Safavid period. Research method: The current study is qualitative research using a descriptive-analytical method. The data collection is conducted through a library-based method. Results: Interactions and social and religious relations have been carried out through symbolic cultural domination to advance the goals and legitimize the Safavid ideology. In the textual layers of garden paintings, painters have addressed the cultural and religious components representing relationships, national customs, court banquets, and Shia religion. Political and social events are represented in the form of mythological and religious narratives in the text of the paintings. The art of multi-purpose and moving illustration in paintings has become a powerful and focused medium at the service of the organized system of the Safavid court, and this artistic field has made the superior position of the king and the structure of the social classes of the Safavid government in the form of dynamic and animated images. Diversity in the design structure of gardens and collective spaces is one of the most significant achievements of artists in expressing the attitude, art, and knowledge of Safavid gardening. These paintings have paid attention to the awareness and precision of court painters in expressing identity components and conveying effective messages to their audiences.

Persian painting has usually been studied from historical point of views. But its formation is rooted in a specific social context. In this study, we will try to contextualize it and we will show that this social context has a crucial role regarding its aesthetic. Persian painting is an art of royal courts and it represents the life of princes combined with Persian epic legendes. This social context and its impact on the Persian painting will be studied here, showing that ordinary life of royal families is the central theme of these paintings and not, as it is said usually, the sprituality of mystical realms. The formation of the Persian painting in the 14th century is typically related to the Persian cultur ruled by the Mongols and Timû rids who tried to legitimize their kingdom by supporting the arts and particularly painting. That is why the art of painting flourished in Persia during their dynasties.

The reason behind the creation of a painting and the method applied, hold many hidden secrets within it and can be influenced by ever-changing internal and external conditions. One of the most important of these factors is an inner existing aspect called the evil force which with the help of the artist’s creative mind and his ideology and beliefs, and in accordance to the prevalent social, cultural and religious condition, not only creates works of art with similar content and different appearances, but also displays them through different styles such as abstract, figurative, expressive and etc; although these figurative works of art could exhibit the concept of evil and even multiply its existence to the observer. Therefore the evil force can be considered as one of the many forces that have been placed within human beings and while it is considered as a destructive nature, humans are able to employ its infinite energy as a stimulant towards artistic creation and show their beliefs and inner beings in the form of displaying the evil force (as Satan), or through passing this corporeality.

Since the first decade of the 20th century Painting has been considered seriously and has developed even more so during the recent decade. The attempt of researchers and art critics of today have developed the range of Iranian painting's perspective and based on valuable documents. These have been collected during decades of search conclude that researchers work on gathering and cataloging was based on aesthetical and historical viewpoints. As a result taking into consideration the documents in hand, by viewing some of Mohammad Siaghalam (famous painter of 9th century's) works, who was one of the famous Iranian painters of his time, we realize that because of his imagination and the ability to draw extraordinary creatures, he is considered the best in his field of work. In this research according to documents we analyze the composition of initial elements and their arrangements in his works. Accordingly we will refer to documents of this period and compare his works with the Spanish painter's, Pablo Picasso (1881-1973).We hope that by analyzing and considering his works, it will lead to deeper research with regards to his work and a new perspective in the way we see Iranian painting.

This paper is an attempt to study the factors that affect the painting market in Iran. Based on our preliminary assumption these factors were divided into four groups: social and personal factors concerning the artist, aesthetic and artistic factors concerning painting, the role of galleries and dealers, and price evaluation of painting. The examination began by field study of the distribution and sale of paintings in galleries and exhibitions in Tehran. Based on survey findings and interviews with painters and critics, the influence of unaesthetic factors on aesthetic assessments was established. 414 paintings were studied through the empirical model. The samples were chosen from sale centers in Tehran which were active in the first four months of the year 1378. Through employing a regression model, the analysis showed the influence of age and gender, form factors (size, frame and material), aesthetic aspects (style, technique), and different ways of presentation painting (gallery and exhibition) on the price of artworks. The findings can be used in economical attempts to restore order in the art market as well as preparing the ground for developing taste in the Iranian art society.