Retouching of Wall paintings has been the important matter in theory and practice. Some of the real problems are exact knowing of retouching methods and right choosing them in appropriate with each case. By reason of observing confusion infield of theory and need to highlight the connection between theory and practice, aim of this paper is to review these viewpoints and to extract main regulation in choosing good approach; thus it wants to answer these questions: “what issues are bases of retouching work? And, what ranges are domains of these studying?”In response process going through a descriptive approach, are searchedreferences in this field to gain basic terms at the start; then by help from personal experiences, with a qualitative analysis can gain final results that are “knowing principles to face Wall paintings and choosing the best method.”

Problem definition: Wall painting as an ancient media can play an essential role in the improvement and purposefulness of the urban space by taking the advantage of the technology growth as well as the expressive capabilities of new materials. Meanwhile, the development of creative methods in designing the partition Walls as a basis for the harmonious murals with the environment and the governing architecture, requires conducting a comprehensive study on the necessity of using these structures in the urban Wall paintings as a visual interface (mural) between the body of the city and the citizens. Given this necessity, the urban partition Walls and how to implement them in the urban space are the main subjects of the present research. Objective: The present study aims to recognize the urban partition Wall painting in order to develop these spaces in the urban environment. Research Method: This research is a qualitative and practical one in terms of the purpose, which is presented in a descriptive-analytical manner with reference to the library resources and images, some of which have been prepared based on the field survey. Results: The urban partition Wall supposed to be a Wall being independent of the architecture and environment while it is dependent on it, qualitatively. The history of the Walls originated from the ancient and indigenous climates and cultures of different regions, such as the primitive life of tribes and even current nomads. . The need for these Walls in today’ s life comes from the advancement of technology and industry in the urban life.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the Wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

Upon studying a number of Wall painting which have been designed and carried out to complete the architectural areas and their related ornaments of monuments in the city of Isfahan from Safavide period on, we will find out some determining factors in forming circumstance of these works, the most important of which are the special styles of European paintings. The European styles of wan paintings, were welcomed and protected by governors, authorities and aristocrats, therefore during those periods, most Walls of the palaces, churches, aristocrats' houses, etc., were painted with pictures of feast parties, hunting, views and landscapes as well as portraits imitated by Iranian painters. When we analyse the political, economic and cultural status of that time, we encounter some impressive factors in propagating the foreign style of painting, specially the European painting which generally could be summarized as: a) the presence of Indian and European painters in the court; b) dispatching of Iranian painters to Europe so that they may learn the European painting techniques; and c) migration of Armanians of Jolfa and Armenia to Iranian cities specially the city of Isfahan as the capital, and construction of numerous churches with ornaments appertaining to the Western paintings.

Apart from functional aspect; architecture can convey the meaning and express its own meanings clearly. Other arts such as painting also can deliver several messages that can be different in various madeia. Many contemporary architects constantly attempts to convey a message of an artwork to architectural media and in this regard, they try to restate the ideas and concepts in a symbolic environment. Without doubt, the meaning of an artwork can be imported with components or other expressive symbols, and thus the litigant meanings of an artwork can be transited to another. In this regard, one of the issues that is missed in architecture area, is the discussion of conveying the meaning from other art media to the architecture. This paper tries to explain how to convey the meaning from painting to architectural media. It is assumed that conveying the meaning of other art medias to architectural media can help the architects to create the meaning and B) Using metaphor, plays an essential role in conveying the meaning from other art media such as painting to architecture. In this paper, in order to answer the research hypothesis, the way John Hejduk restates the Madame D’Haussonville painting by John Auguste Dominique Ingres and the studio series by Georges Braque in the architecture of the Wall house 2 are discussed. The Methodology of this paper is based on descriptive analytic methods and logical reasoning. It also relies on the discussing and analyzing the library information. Finally, this study shows that conveying the meaning from one art media to another can develop ideas from other arts such as painting to architecture and vice versa and be effective in the enhancement of both of these art media.

About a century after Safavid period, the tendency towards Shiite religious motifs culminated at Qajar court. In those ages, the effort of Qajar kings to justify and confirm their sovereignty as a result of support extended to religious ceremonies and activities and agreement with religious trends made religion one of the strong social base in the public culture to bring art under its influence, (the art which had found an opportunity to reflect beliefs of the public culture. The art of Iranian painting, which was frequently being supported by the courts, found also a public position. It was such that the public painting could reflect the people’s beliefs in religious motifs in the public and religious places such as Hoseiniyeh, Tekyeh and sacred shrines. At that age, one important factor, which had a great impact on the religious minds of painters and naturally the growth and evolution of religious painting, was playing Ta’ziyeh because of Shiite beliefs of the society of that age. The prevailing motifs in the visual arts of Qajar period in particular after Fathali Shah served as a reflection of aestheticism and an image of events being performed in Ta’ziyeh. While referring to the factors influencing the growth of painting at Qajar period, this article is an attempt to review the Wall-painting of religious places which are under the influence of Shiite motifs in Ta’ziyeh and tries to show what kind of interaction had been in place between the dramatic form and visual form of religious beliefs in religious Wall-painting of that age.

Today, “visual management” and the urban landscape of the main issues in urban planning processes and macro-policy a central role in creating the legibility and visibility of urban and urban aesthetics. If it can be expected that cities without looking at management in the field of landscape and urban visual system can achieve the status of their corresponding management of the urban landscape. In this review of the position of graffiti on the management of the urban landscape and its role in the aesthetics of the cities have been addressed. The research is descriptive and reference documents to library research tools and techniques related to the research objectives may be tried.Finally, in addition to the aesthetic of graffiti on the Walls of cities, towns, strategies to improve the management system of landscape and visual management of cities, especially in connection with Wall paintings has been paid.

There are few remains of Prehistoric murals in Iran. So, identification of pigments that were used in them is beneficial information for study of Prehistoric painting technology and method of Iran. The present study reports some of the resuls optainted from the application of different analytical techniques to characterize three pigments of Chalcolithic site of Tal-e Mash Karim, Central Iran. The characterization of the studied paintings was carried out by means of optical microscopy (OM), scanning electron microscopy (SEM) equipped with an energy dispersive X-ray detector (EDS), X-ray diffraction (XRD) and Fourier transform infrared spectroscopy (FTIR). Identification the main element of calcium and calcite crystal phase represents the white limestone for white coloring. XRD analysis and identification of hematite in red pigment, Indicated of the red ochre. Also, the FTIR analysis of black pigment indicates of application of coal ash in colors.

Calligraphy art is one of the top and special arts related to Islamic periods in Iran and is used in architecture decoration that has a great value among Muslim artists for its divine word credit. Kufic script after getting into Iran and Being accepted as main art by artists, appeared in artistic fields and with artists` passion found its way in all arts as after passing two centuries from entering Islam into Iran, it is one of the best decorative elements in building decorations and Islamic architecture. Kufic script could reach to the top of its glory and aesthetic in two periods of Ghaznavian and Salgoqian governorship. Iranian Kufic became popular with the combination of ancient Kufic as the best decorative element in buildings and artistic industries. Like all Islamic arts, it encompasses diverse arrays of forms created in a wide variety of contexts. During 5th and 6th (Hijri), Kufic script got lots of changes in legibility and aesthetic in architecture decoration. artists appeared a new model of Kufic script by combining, Script, drawing and painting. as a model we can refer to Arsenal Jazzed painting inscription Which is related to Ghanaian governorship in 5th century and is placed in Khorasan. it is considered one of the most popular and brilliant Islamic arts in Iran. In the present study, Two principles, words structure and form has been noticed in order to identify Kufic script in centuries 5and 6 according to decoration and aesthetic inscription of Arsenal Jazzeb tomb. in order to reach these principles (structure and form ), in the first view, form and structure of words in painting inscription of Arsalan Jazeb tomb has been studied and In the second view the form of words and decorations related to the whole border of painting has been considered. Taking a look at this Islamic art model, we can notice that the Walls of the tomb are adorned with inlayed and also you can see an inscription in Kufic script. this tomb has a short stone dome placed on an octagonal base, which is with Kufic script too. it must have been one of the best building in its time according to architecture and aesthetic elements of it that has made it one of Islamic art models and is still popular. The result of this study shows a great growth and knowldege in calligraphy and script during those centuries which has made a new script in region of Khoarsan. this study has been done about form and structure of Kufic script in Khoarsan in a descriptive, analytical way, and documents, especially field photography have been collected in order to provide a better and clearer vision into one of the most popular Islamic masterpieces in the hope of identifying and introducing Islamic art and specially calligraphy to all who are interested in this case in order to get a better view of Islamic arts seed in famous buildings like Arsalan Jazeb tomb.

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.