Definition of art is a specific form and shape of social consciousness and its aim is to reflect the reality correctly and multilaterally for the purpose of reaching the aim and loftiness which has passed a very tortuous and difficult way. What has caused evolution of Urban arts is creating the pictures which have full resemblance to the reality, because they have public addresses and are seen in the paths of the city and daily passing of life. General art are meaningful activities that can be recalled as art. This art has been shaped in the city space with public investment or by persons and is paid attention by the public and it is appeared with a clear aim and in the form of general activities of the city. “Urban art” as an activity combined with Urban space is the “environmental art “ which shows different types of gen- eral art in close relation with the environment and people in connection with Urban space. Each of the characteristics of these arts will be changed to some parts of visual culture of that environment during the time.Urban art is an independent artistic style which is performed in the Urban life and by artists in the city space. This street art with expressing the culture of a nation is used in visual arts, architecture and Urban planning fields. Urban art in India is specified with the place which is the same general space of the city. It seems that the Urban art in general spaces of India is dependent on its native and religious fields and this coordination with the field have caused giving identification to it. Merging different religions with different behaviors and customs forms the greatest and main part of social life in India. The most outstanding symbol of religious group is the statues and type of their stowing and their spatial formation which give them a meaning further than quantitative and decorative beauty and is revelation of the beliefs of people. Each one of these arts represents a special custom in India and is accountable for the cultural and ceremonial requirements of its society.The main aim of this research is expressing religious and ceremonial fundamentals and meanings manifested in Urban art of India which different ceremonial thoughts have manifested in them during their life time. It is tried to study the samples observed and selected in India and with considering the cultural and ceremonial instants therein, and to emphasize that the main aim and existing heritage in Urban art of India has a root in ceremonial thoughts of the people of this country. Extensive association of people of India with the religions and cultures appeared therein meet spiritual and physical requirements of its inhabitants, and this matter has caused its survival and continuation during the time and characterizing it in form of a united collection of Urban art. With the help of recognizing artistic structure of India in its Urban aspect, one can find a correct category of performance and beauty aspects of this art in Urban region of India.

In the developments of postmodernism and with the beginning of the discourse of the generality of art in cities, the relationship between the work of art, artist, audience and Urban context with new relations becomes meaningful and due to new approaches of artists in the city, its relationship with Urban institutions and a wide audience creates a variety of approaches in the field of works and theories of theorists. Cities as a context of discourse and multiculturalism, become a platform for the presence of art, and communication with a wide Urban audience becomes the goal of art. In the midst of these developments, Urban spaces, that previously designed only by Urban organizations and their careful planning and collaboration with artists, became the context for the entry of various arts. The relationship between art and the Urban has faded; the art-Urban component is accompanied by the artist-audience component, and here the public art discourse begins. In the public discourse of art, which most theorists have defined as "public art," artists ideologically turn to the public context to communicate with a wider audience. Because, in addition to environmental contexts, Urbans were considered as a context for discourse with a wide audience, governments and Urban institutions try to create a discourse context for art and intervene by creating a percentage for art works. However, Urban developments in the postmodern period, which are based more on audience-oriented approaches and define the Urban space in relation to the Urban audience, do not consider most of the artworks of the public art genre in relation to the Urban and the Urban audience and after the first decades of this approach, the public art controversy begins. Its conflicts are mostly between Urban theorists, audiences, artists and institutions that support art works. By Criticizing the works, they demand the coordination of art with the Urban context, the cultural and pluralistic context of the city, the Urban audience and its association with local institutions. Therefore, it seems that despite the semantic similarity in the basic components of Urban art and public art, the mixture of these two areas and the semantic ratios of components such as audience-citizens, city-public spaces and institutions-artists are different. Because, despite its proximity to Urban-public spheres, the discourse of public art is different from that of Urban art and is based on artist-centered components. Therefore, it seems necessary to question the ratio of similar and different components in the two genres of public art and Urban art, both in the semantics of the terminology for it and in its basic components that are the audience-environment and artist-institutions. Therefore, the purpose of this study is to answer what and how the art is in the public spaces of the city; through the two terms of public art and Urban art, by examining the common and differential components of these two areas, which is based on terminology and analysis of works. The research method in this article is descriptive-analytical and comparative. It begins with the collection of historical artworks and documents related to the art of public spaces in the city and the extraction of its variables has been done by analyzing related texts and artworks in both: Urban and public areas. Due to the interdisciplinary nature of the article, research, collection and classification of works and texts have been done by comparative study in two areas of city and art and to enter the main and semantic issues in these two areas, how and why the discourse of the generality of art in the second half of the twentieth century has been discussed historically and socially. Its semantic aspects have been studied in the terminology of public art and Urban art and in terms of comparing the commonalities and differences between these two areas, the important semantic components that have been found in both how and why of Public art and in the semantics of terminology, have been analyzed by comparing the artworks and discourses of this period. Examples of research have been selected from the important and prominent works in this field in the public spaces of the city and by analyzing and studying the previous fields of works and their turning to the public space of the city, public and Urban questions have been studied. Researches show that the art of public spaces in the city, after the changes of postmodernism, freed itself from previous constraints such as: purely aesthetic, political, memorial, heroic, messaging, etc. and by re-reading the city and space, found a public context for its expression. Its expressive approaches, sometimes in the form of interactive installations, re-read the Urban context. Sometimes, with the conceptual ideology of artists, questioned the meaning of place with Its presence. Sometimes the artist's conceptual idea became so original that changed the Urban context and confiscated it in its favor, and sometimes expressed its message in relation to it. During this period, the city became a place for the narration of artists, audiences, and public and private institutions in the form of multiple contexts. Its space that moves structurally and identity between the past, present and future; created a multiplicity of time-space that is no longer imaginable in Urban spaces. However, what separates the components of Urban art from public art is the meaningful dependence and location of Urban art to the public spaces of the city and its connection to the audience and Urban life. Urban art transforms the spatial-local contexts of the city into a new context for the evolution of events and offers a new reading of the city and art to the audience present in the place. Interactive approaches between art and society predict the technological nature of new art, a futuristic function, and a place for the city. Urban art considers the Urban components that have been, are and are becoming. In this multiple context, art is identified in relation to the location of the city and moves in the intermediate relationship between the artist-institutions and the audience. The confrontation with the city is sometimes personal, sometimes is through the institutions of the art world and sometimes is against the institutions of power; but it always participates in the Urban landscape discourse. The components that in public art lead to the space-time of the place and the extension of the artist's idea in the audience, here become one with the space-time of the city and accept its container. Therefore, despite the widespread use of the term public art in the postmodern era and the application of the term public to works created in the field of Urban landscape; the nature of the basic components of these two areas are different. In public art, priorities are understood in artist-centered and audience-oriented ratios; whereas in Urban art, these proportions find meaning primarily in the location of the city and below the audience of the citizen. Where it was located, where it is and to where it extends. It is dynamic and evolving and transformative, participating in the artist's participatory idea, creating a new context for reading, and creating a new encounter with the event.

Urban art plays a vital role in shaping cityscapes and public perceptions, reflecting cultural, social, and political realities. However, contemporary theories suggest that these visual expressions are increasingly influenced by hyperreality, as proposed by Baudrillard. The proliferation of digital media and consumer culture has transformed Urban spaces into sites of spectacle, blurring the line between authentic social critique and superficial entertainment. This raises questions about the true social and political potential of Urban art in the context of hyperreality. The primary aim of this study is to analyze how Baudrillard’s concepts particularly simulacra, hyperreality, and spectacle apply to contemporary Urban art and to explore its functions as both resistance and commodification. A qualitative, interpretive approach was employed, involving a comprehensive review of theoretical literature, analysis of visual examples such as murals, digital interventions, and social media representations, and thematic analysis to identify patterns and implications. The study found that Urban art often operates simultaneously as a form of social resistance and as part of spectacle culture. While some artworks challenge dominant narratives and foster genuine engagement, many are coopted or transformed into commodified symbols, reinforcing superficial perceptions. Baudrillard’s theories offer valuable insights into understanding the complex nature of Urban art in the hyperreal city. Recognizing the tension between authenticity and spectacle emphasizes the need for critical engagement and strategies that foster genuine social dialogue in Urban visual culture.

Today in literature of “Urban art” in our country, the definition of it, is either based on the mission of art work to improve the quality of Urban landscape or on a variety of art works in the city; however the interesting point here is that the Urban art is not clearly determined in the previous studies. How can it affect the quality of Urban landscape? And whether all works of art in the city are caused such qualities?With the distribution of artworks all over the cities and failure to reach their maximum determined targets, it seems that Urban art has been backed away from its original essence and subdued by some styles attenuating its values as much as decorations and ornaments of city. Therefore, it has not only lost its meaningful presence in the city, but also [the present application of it] has led to some sort of confusion.To achieve the desired goals, this paper suggests considering “Urban art” as a landscape phenomenon, because it depends on two components, “citizen” (human) as the “target audience” that Urban art works are created for him, and “social space” as an environment to form perceptions and social interactions, not just a simple context of the works. Finally it concludes, in modern times, the most appropriate platform for Urban art is not every Urban space and public space, but it is a social space establishing the social connections as the highest goal of civic life to be able to invite the target audiences to understand art works and achieve Urban qualities in this calling.

In a period with series of developments in the field of demographic, technological, economic, political, etc., considering restoration and improving Urban life quality through the improvement and development of the unique features of a place and its people is necessary. Therefore, the idea of “ Creative Placemaking” defines a type of Urbanism that absolutely requires the presence of art and artists, and seeks to create places more than ever artistic and in a broader concept؛ cultural places. There are many tools for promoting communication between people and places, including cultural districts, artist relocation projects, municipal cultural planning, creative industries, public art, community art and Urban design. This study aims to support cultural people-oriented policies-to a better understanding of what people are doing or wanting to do-keeping in mind the role of artistic activities and public art in Urban spaces in explaining the relationship between public art and place making. In fact, what makes the significance of this research is to provide a context to understand the status and impact of the arts in shaping creative Urban places. This study tries to answer these questions: pubic art on which aspects of placemaking is impressive? How do these effects manifest themselves? And it’ s based on the assumption that there is a certain correlation between public art and the dimensions of placemaking. Most major cities have distinct and identifiable neighborhoods that artists and cultural entrepreneurs are attracted to them. According to the Relph and Canter’ s “ Place” model (1977) these successful places, consists of three components: activity (Economic, cultural and social), physical space (relations between buildings and spaces) and meaning (Sense of place, historical and cultural background). In this framework, a set of indicators can be found and used to assess the role and place of public art in the placemaking, as well as analyze the relative success of the process. So in this paper, in addition to codification a conceptual framework “ the role of public art in place making” , the influencing factors of art on each of the main components of place-as a basis for research studies-were introduced. Accordingly, two samples which are the most important parks in Tehran (Mellat Park-literally the Nation Park-and Ab-o-Atash Park-literally the “ Water-and-Fire Park), which are suitable for the evaluation of public art, were selected. Methodology of this study is based on documentary research and survey methods are descriptive and observational. Using literature review and outstanding documents about the concept of place and public art, this documentary study tries to extract the appropriate theoretical framework for the research methodology. To test the conceptual framework presented, after compiling and collecting questionnaires and ensuring the validity of the proposed model, comparison mental reading of people in two case study-A sample of 100 randomly selected individuals-were done with Structural equation modeling (SEM) and uses of AMOS 20. Results of this study reflect the impact of public art in each of the main components of place making and the relationships between these components. Public art in terms of economic, social and cultural promoting on activity component, in terms of shaping the built environment and the natural environment on form component, and in terms of creation the identity and legibility on semantic component of placemaking is effective. For Urban spaces users, it seems that some examples of public art are considered to be more challenging, that somehow seek to convey information and meanings to the general public. The results of the analyzes also show that items related to the place branding, various rituals and ceremonies, monuments, performances and arts program that transmit different types of meanings associated with identity, history, culture and art, compared to items such as fountains, purely artistic elements, innovative Urban furniture, etc., are more important and more sensitive. Also, the results of the study indicate that the success of public art programs in the Urban placemaking depends on respect for space and communicating with people. So if the artworks were created through a process that seeks to physically interpret the needs, values, desires, interests, dreams and prejudices of the people of that place, these can significantly help the citizen’ s experience of the place.

Ecological problems are among the concerns of the contemporary world. In recent years some artists in Iran have been using the new art media to express and understand these problems in order to challenge the audience. Urban art, in addition to providing aesthetic aspects, can play a more effective role in raising public awareness of the issue of ecology protection through its proximity to interactive art and by considering citizen audiences as the primary target of such artwork. In this regard, it seems that the many commonalities between the new art media and the Urban art have made it possible for artists in this city to reach their audiences more than ever. Studying and recognizing the ecological artworks in Urban spaces of Iran shows that among the new media, environmental art is more aligned with the artist's goals and expressing ecological concerns in the city because of its quick and easy communication with the environment and the audience. Other media have been favored by artists. In this descriptive-analytical study, an ecological approach is used to examine the reasons for artists' attention to new media in Iranian Urban spaces by evaluating the extent of their presence in the Urban context and how they succeed in conveying the ecological concepts in their creative works.

in recent years, Urban planners and designers look at public art-the art that exists in public domain - as an opportunity for creating vibrant and meaningful environments in many big and small cities in all over the world. Although public art as an integrated art in Urban spaces that happens in streets, Urban parks, public buildings, house estates and anywhere people live, work and take their leisure is not a new concept, Urban planners and designers and everyone who makes policies for cities should consider it as a powerful item in city that can cause gradation in Urban physical, social, behavioral, economic and cultural context. Also we should consider that public art depends on a certain interaction with the public, based on some shared postulates. This article tries to clarify the definitions, limitations and boundaries of public art and its influences on public space.

AB-Boshghabi (Centella asiatica) from Apiaceae family, has been used as a traditional herbal medicine in Asiatic countries for hundreds of years.This plant is indigenous to the warmer regions of both hemispheres, including southeast Africa, Asia, Srilanka, the Pacific Islands, Madagascar, Eastern South America, Venezuela, Columbia. It is especially abundant in the swampy areas of India, Iran (around the Anzali lagoon), and Pakistan, Upto an altitude of approximately 700m.This hygrophyte plant is considered as a "vulnerable species" in the Red data book of plant species of Iran. This valuable hygrophyte species has a definitely exclusive habitat around the Anzali lagoon. The major principles are the triterpenes asiatic acid and madecassic acid, and their derived triterpene ester glycosides, asiaticoside and madecassoside.The major clinical indications for the use of centella asiatica in human include the treatment of wounds, venous insufficiency of the limbs, Certain mycobacterial infections and cellulitus. In the present article, we review mainly medicinal aspect of Centella asiatica that hitherto has not received much attention.