Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 A Survey of Sound and Illustration Adaptation in Ghahve Khane Painting and Narration A Survey of Sound and Illustration Adaptation in Ghahve Khane Painting and Narration 5 12 382 10.22075/aaj.2015.382 FA Zahra Toobaee Maryam Kamyar Journal Article 2016 03 06 hahve Khane painting is influenced by Naghali (narration) due to the atmosphere of narrating religious and mythical narration stories. Examination of sound and illustration adaptation in this type of painting, considering the influence of Naghali on Ghahve Khane painting, is the subject of this research. Ghahve Khane painting is divided into three categories by content: “martial”, “religious”, and “lyrical”. Naghali is also divided into three categories in the Iranian dramatic arts based on the form of performance and its theme: “narration of Shāhnāma stories”, “narration of historical stories and myths”, and “narration of religious facts”. Considering the limited sources of Naghali, Shāhnāma stories and popular narrations, paintings with the same subject were chosen ,so similarities and differences of narration in painting and Naghali were explained. A special moment of the story is illustrated in Ghahve Khane paintings; a moment that the narrator’s voice is limited in ascending or descending interaction considering the sound graph. Four paintings of Hossein Gholer Aghasi with audio narration chart of Master Torabi were comparatively studied in this article. This research reveals that Ghahve Khane painters prefer to illustrate the picture in ascending or descending interaction (tragic stories) due to attraction of the picture and the moment transformation of stories that has a greater influence in comparison with the beginning, middle, and end of a story; the moment that is observable by the audio chart (sound graph). hahve Khane painting is influenced by Naghali (narration) due to the atmosphere of narrating religious and mythical narration stories. Examination of sound and illustration adaptation in this type of painting, considering the influence of Naghali on Ghahve Khane painting, is the subject of this research. Ghahve Khane painting is divided into three categories by content: “martial”, “religious”, and “lyrical”. Naghali is also divided into three categories in the Iranian dramatic arts based on the form of performance and its theme: “narration of Shāhnāma stories”, “narration of historical stories and myths”, and “narration of religious facts”. Considering the limited sources of Naghali, Shāhnāma stories and popular narrations, paintings with the same subject were chosen ,so similarities and differences of narration in painting and Naghali were explained. A special moment of the story is illustrated in Ghahve Khane paintings; a moment that the narrator’s voice is limited in ascending or descending interaction considering the sound graph. Four paintings of Hossein Gholer Aghasi with audio narration chart of Master Torabi were comparatively studied in this article. This research reveals that Ghahve Khane painters prefer to illustrate the picture in ascending or descending interaction (tragic stories) due to attraction of the picture and the moment transformation of stories that has a greater influence in comparison with the beginning, middle, and end of a story; the moment that is observable by the audio chart (sound graph).

https://aaj.semnan.ac.ir/article_382_0d62cd94996e9bf2d8a1bbb362ed83af.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Evolution of Shape in Late Islamic Seals Evolution of Shape in Late Islamic Seals 13 20 417 10.22075/aaj.2015.417 FA Mohammad Sadegh MirzaAbolghasemi 0000-0002-5865-7561 Journal Article 2014 08 27 Shape is regarded as one of outward characteristics of Islamic seals. This characteristic, which is part of common traits of all different areas of seal studies, could be defined as framework of circumference of seals impression on written materials and documents, which in fact results from the shape of seals surfaces. Shape has been considered as one of the ways of recognizing the administrative validity of documents seals and its application, at least, in official seals has followed specific rules. Based on historical descriptive approach and desk studies, this essay deals with the role of the shape of seals in terming and typology of Islamic seals, as well as its evolution in late Islamic seals. The results indicate that although the shapes of late Islamic seals differ from each other through various periods, but the variety of shapes of administrative and official seals can be delimited and confined to basic geometric shapes. Thus, the main shape of Ilkhanid to Jalayirid rulers’ and dignitaries’ seals is that of rectangular and polygonal, Timurid’s and Turkmanan’s is circular, and Safavid seals are square and circular with additional small parts known as Taj or Kolahak. The shape of post-Safavid seals has been gone through a main change that is the predominance of the taste for square instead of circle. This limitation, on the one hand, is due to administrative rules considering construction of seals and, on the other, refers to evolution of writing script and composition in these seals. Shape is regarded as one of outward characteristics of Islamic seals. This characteristic, which is part of common traits of all different areas of seal studies, could be defined as framework of circumference of seals impression on written materials and documents, which in fact results from the shape of seals surfaces. Shape has been considered as one of the ways of recognizing the administrative validity of documents seals and its application, at least, in official seals has followed specific rules. Based on historical descriptive approach and desk studies, this essay deals with the role of the shape of seals in terming and typology of Islamic seals, as well as its evolution in late Islamic seals. The results indicate that although the shapes of late Islamic seals differ from each other through various periods, but the variety of shapes of administrative and official seals can be delimited and confined to basic geometric shapes. Thus, the main shape of Ilkhanid to Jalayirid rulers’ and dignitaries’ seals is that of rectangular and polygonal, Timurid’s and Turkmanan’s is circular, and Safavid seals are square and circular with additional small parts known as Taj or Kolahak. The shape of post-Safavid seals has been gone through a main change that is the predominance of the taste for square instead of circle. This limitation, on the one hand, is due to administrative rules considering construction of seals and, on the other, refers to evolution of writing script and composition in these seals.

https://aaj.semnan.ac.ir/article_417_d584d664a7a027902c8cd8e80124e088.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Comparative Study of Contrasting Good and Evil in Shahnameh and khavaran nama (With Emphasis on Archetypal Criticism) Comparative Study of Contrasting Good and Evil in Shahnameh and khavaran nama (With Emphasis on Archetypal Criticism) 21 34 418 10.22075/aaj.2015.418 FA Fattaneh Mahmoudi Azam Hajhasani Journal Article 2014 09 25 Archetypal criticism is an interdisciplinary approach that is based on the study of sciences such as psychology, anthropology, religious history and the history of civilization, which deals with the analysis of texts. In this article, with this approach, compare Battle of good and evil and its presence on Archetype patterns, focusing on Shahnameh by Ferdowsi and Khavaran nameh khosafi.In Khavaran nameh painting, where fairy tales and fantasy stories of trips and war and bravery of Imam Ali arises the old model of "Armageddon" comes.In the analysis of the Shahnameh, conflict, internal or main theme of the struggle between good and evil that we find the main theme of Shahnameh, That is such a spirit on the part of such a great work. Frequency Shahnameh stories that direct practical struggle of good and evil are involved, at least is double from another khavaran nameh. The struggle between good and evil (the major house dust mites in the Shahnameh) can be as deep structure of the narrative pattern in the collective unconscious of the human mind, considered the archetypal narrative. The purpose of this article is comparing the struggle between good and evil in shahnama and Khavaran nama. After study four paintings of each epic books paintings, Which involves a battle between good and evil are, we can realize, Shahnama’s influence on khavaran nama in three archetypal characters, archetypal symbols and archetypal situations and actions. Archetypal criticism is an interdisciplinary approach that is based on the study of sciences such as psychology, anthropology, religious history and the history of civilization, which deals with the analysis of texts. In this article, with this approach, compare Battle of good and evil and its presence on Archetype patterns, focusing on Shahnameh by Ferdowsi and Khavaran nameh khosafi.In Khavaran nameh painting, where fairy tales and fantasy stories of trips and war and bravery of Imam Ali arises the old model of "Armageddon" comes.In the analysis of the Shahnameh, conflict, internal or main theme of the struggle between good and evil that we find the main theme of Shahnameh, That is such a spirit on the part of such a great work. Frequency Shahnameh stories that direct practical struggle of good and evil are involved, at least is double from another khavaran nameh. The struggle between good and evil (the major house dust mites in the Shahnameh) can be as deep structure of the narrative pattern in the collective unconscious of the human mind, considered the archetypal narrative. The purpose of this article is comparing the struggle between good and evil in shahnama and Khavaran nama. After study four paintings of each epic books paintings, Which involves a battle between good and evil are, we can realize, Shahnama’s influence on khavaran nama in three archetypal characters, archetypal symbols and archetypal situations and actions. https://aaj.semnan.ac.ir/article_418_4b8e8a2f9f351009e6952bf67e59cd91.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Ritual – Mythological Reading Representations Engaging in Persepolis and Baisonghor’s Kelileh and Demneh Ritual – Mythological Reading Representations Engaging in Persepolis and Baisonghor’s Kelileh and Demneh 35 44 419 10.22075/aaj.2015.419 FA Ehsan Arman Mitra Zakerin Journal Article 2014 10 09 We live in a world,that is based on these conflicts! This is contrary to the broad meaning of the rituals of ancient Persia, even though in Zoroastrianism this conflict(Spenta Mino and Ankrah Mino) have established the creations .lion and bull dispute, One of the oldest Iranian art motifs are used. The authors choose the Baisonghor’s Kalila wa Dimna and the scene at Persepolis:killing the bull by lion, And comparing them with one of the carvings remains of Mithraism, in which Mithras is killing the bull. The research Tries to find similarities between them, although there are differences according to their historical and geographical position .In this article, the data is collected form library and written documents and Internet sources. The study also crosses – Analytical, That Similarities and differences in the tables are designed and have also been studied in comparative perspective. In this article, after a brief description of Mithraism rituals, legends and myths and symbols as well as lion and bull, the image of fighting in Persepolis and Baisonghor’s Kelileh and Dimna is studied and compared with the ritual killing of cattle Mithraism. And finally, it concludes that: In this picture there are undeniable similarities. Although many books and articles have been written about the fighting scene in Persepolis and it’s similarities with Mithraism,The main difference between this research and other studies is finding possible Widespread implications the writing of Kalila wa Dimna to paint mythological concepts in conjunction to Timurid era. We live in a world,that is based on these conflicts! This is contrary to the broad meaning of the rituals of ancient Persia, even though in Zoroastrianism this conflict(Spenta Mino and Ankrah Mino) have established the creations .lion and bull dispute, One of the oldest Iranian art motifs are used. The authors choose the Baisonghor’s Kalila wa Dimna and the scene at Persepolis:killing the bull by lion, And comparing them with one of the carvings remains of Mithraism, in which Mithras is killing the bull. The research Tries to find similarities between them, although there are differences according to their historical and geographical position .In this article, the data is collected form library and written documents and Internet sources. The study also crosses – Analytical, That Similarities and differences in the tables are designed and have also been studied in comparative perspective. In this article, after a brief description of Mithraism rituals, legends and myths and symbols as well as lion and bull, the image of fighting in Persepolis and Baisonghor’s Kelileh and Dimna is studied and compared with the ritual killing of cattle Mithraism. And finally, it concludes that: In this picture there are undeniable similarities. Although many books and articles have been written about the fighting scene in Persepolis and it’s similarities with Mithraism,The main difference between this research and other studies is finding possible Widespread implications the writing of Kalila wa Dimna to paint mythological concepts in conjunction to Timurid era.

https://aaj.semnan.ac.ir/article_419_6ac22f6f60b145d0e2fe374df533509d.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 The comparative study of design and color in Nomadic Ropes of Bakhtiari and Ghashghaie Tribes The comparative study of design and color in Nomadic Ropes of Bakhtiari and Ghashghaie Tribes 45 57 2584 10.22075/aaj.2015.2584 FA Peyvand Tofighi Instructor, Department of Carpet Designe, Shahr-e-Kord University Journal Article 2014 05 16 omadic ropes of Iran are one of nomadic woven industries that are various and have consuming and decorating uses. Different tribes of Iran have represented different types of ropes based on their regional style, tribal aesthetic and cultural and confidential features. This study attempts to investigate common and distinct points of nomadic ropes of Bakhtiari and Ghashghaie tribes by means of library and ground research. In this regard, The relevant questions are as such: -DO the applied figures relate to cultural and confidential issues or their decorative aspect matters? -What are the common grounds of design and color of the ropes in the two regions? -What are the most-frequently-used figures and colorful pairs? - What are the applied styles of figure,recognition ways and distinction of Bakhtiari and Ghashghaie samles? 　 omadic ropes of Iran are one of nomadic woven industries that are various and have consuming and decorating uses. Different tribes of Iran have represented different types of ropes based on their regional style, tribal aesthetic and cultural and confidential features. This study attempts to investigate common and distinct points of nomadic ropes of Bakhtiari and Ghashghaie tribes by means of library and ground research. In this regard, The relevant questions are as such: -DO the applied figures relate to cultural and confidential issues or their decorative aspect matters? -What are the common grounds of design and color of the ropes in the two regions? -What are the most-frequently-used figures and colorful pairs? - What are the applied styles of figure,recognition ways and distinction of Bakhtiari and Ghashghaie samles? 　

https://aaj.semnan.ac.ir/article_2584_98079784dba8bfd469d2313cdebe8fcb.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 1393 12 01 Effects of Art - Tourism Industry and Economic Development in OECD Countries in 2010 and 2013 Effects of Art - Tourism Industry and Economic Development in OECD Countries in 2010 and 2013 59 67 2585 10.22075/aaj.1393.2585 FA Zahra Arab M.A. Candidate, Art Research, Faculty of Arts and Architecture, University of Semnan Journal Article 1393 04 05 ourism As an example of art- industry in the world is very interesting, because on the one hand can have direct or indirect impact on a country's industry and the other factors in order to protect ,preserve and promote the arts in the country, besides which is recognised tourism as an efficient catalyst for reconstructing the economic and social development of countries with a reduction in industrial activity, employment, human resources while it is resumed to create a positive step on Job oppertunities and income growth. The aim of this study was to investigate the relationship between art and industry of tourism on the growth and economic development in Iran and OECD countries in 2010 and 2013. Economic development indicators examined in this study include per capita income, human development and purchasing power, as well as universally accepted indicators in the tourism industry includes government spending on tourism, trade names and timeliness of tourism to attract tourists to use of structural equations to study the impact of the parameters of the relevant payments have been learned .The results of the model indicate that tourism has a negative impact on economic growth and its impact in select countries that have been studied over the years and this negative effect may be due to negative economic consequences such as rising prices of goods and services in the tourism, rising land prices and the overall cost of living is tourism. ourism As an example of art- industry in the world is very interesting, because on the one hand can have direct or indirect impact on a country's industry and the other factors in order to protect ,preserve and promote the arts in the country, besides which is recognised tourism as an efficient catalyst for reconstructing the economic and social development of countries with a reduction in industrial activity, employment, human resources while it is resumed to create a positive step on Job oppertunities and income growth. The aim of this study was to investigate the relationship between art and industry of tourism on the growth and economic development in Iran and OECD countries in 2010 and 2013. Economic development indicators examined in this study include per capita income, human development and purchasing power, as well as universally accepted indicators in the tourism industry includes government spending on tourism, trade names and timeliness of tourism to attract tourists to use of structural equations to study the impact of the parameters of the relevant payments have been learned .The results of the model indicate that tourism has a negative impact on economic growth and its impact in select countries that have been studied over the years and this negative effect may be due to negative economic consequences such as rising prices of goods and services in the tourism, rising land prices and the overall cost of living is tourism.

https://aaj.semnan.ac.ir/article_2585_d30c09a2150390505671f9af6889aaf9.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Investigating the Relationship between Tourism and Handicrafts in Kordestan Investigating the Relationship between Tourism and Handicrafts in Kordestan 67 78 2586 10.22075/aaj.2015.2586 FA Nikoo Shoja Noori Instructor, Faculty of Art & Architecture, Al-Zahra University Journal Article 2014 10 14 n the current age governments purposefully perform some studies and measures that cause supporting economic development, such as paying special attention to the tourism industry and absorbing tourists by emphasizing on local handcrafts. Iran has not done any outstanding activities in this area. Although Kordestan has the potentiality for tourism and the variety of handcrafts, it is the second unprivileged province in Iran. So, this study investigates the relationship between tourism and handicrafts in this province in order to help economic development. As tourism by focusing on the handicrafts can be one of the best ways to remove the deprivation, it is necessary to remove the development problems of each of them simultaneously. Creating enough absorption for absorbing the tourists is among the tourism issues in Kordestan according to the variety and number of traditional workshops of local handicrafts and the beauty of their products, there is the potential absorption in handcrafts in this area. So, if suitable conditions could be created, visiting and buying of these workshops is an outstanding option for absorbing tourists. Also, tourists can cause the development in handicrafts and economics of Kordestan directly and indirectly. At the end it is suggested that: 1. Practical ways of improving tourism and handcrafts in Kordestan should be stated and presented as an executive guideline; 2. All handicraft workshops of this province with their characteristics should be discerned; 3. Training trip leaders about local handicrafts; 4. Wide advertising and providing enough and suitable facilities for the tourists to visit and buy from handcrafts workshops. n the current age governments purposefully perform some studies and measures that cause supporting economic development, such as paying special attention to the tourism industry and absorbing tourists by emphasizing on local handcrafts. Iran has not done any outstanding activities in this area. Although Kordestan has the potentiality for tourism and the variety of handcrafts, it is the second unprivileged province in Iran. So, this study investigates the relationship between tourism and handicrafts in this province in order to help economic development. As tourism by focusing on the handicrafts can be one of the best ways to remove the deprivation, it is necessary to remove the development problems of each of them simultaneously. Creating enough absorption for absorbing the tourists is among the tourism issues in Kordestan according to the variety and number of traditional workshops of local handicrafts and the beauty of their products, there is the potential absorption in handcrafts in this area. So, if suitable conditions could be created, visiting and buying of these workshops is an outstanding option for absorbing tourists. Also, tourists can cause the development in handicrafts and economics of Kordestan directly and indirectly. At the end it is suggested that: 1. Practical ways of improving tourism and handcrafts in Kordestan should be stated and presented as an executive guideline; 2. All handicraft workshops of this province with their characteristics should be discerned; 3. Training trip leaders about local handicrafts; 4. Wide advertising and providing enough and suitable facilities for the tourists to visit and buy from handcrafts workshops.

https://aaj.semnan.ac.ir/article_2586_98bc69ade8fb14bd76b524ea91924df2.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Arabesque Application Procedure in Isfahan SchoolComparative Study of Samples Obtained from Aligapoo, Chehel Sotoon and Hasht Behesht Palaces Arabesque Application Procedure in Isfahan SchoolComparative Study of Samples Obtained from Aligapoo, Chehel Sotoon and Hasht Behesht Palaces 15 22 2588 10.22075/aaj.2015.2588 FA Maryam Aminoroaya Assistant Professor, Faculty of Religions and Denominations, Isfahan University Mohammad Taghi Pirbabai Associate Professor, Faculty of Art and Architecture, Tabriz Journal Article 2015 01 10 otifs differences and similarities indicate artistic and historical characteristics of different art schools. Special principles had been employed for artistic works at each historical era which indicate the art school qualities. Wall painting widely boomed, in Isfahan School, due to necessity of palaces, public and private monuments arrangement. Hence wall painting changed to an indispensable part of architecture. It sould be considered that Aligapoo, Chehel Sotoon and Hasht Behesht were constructed at the same historical era. Present study tries to examine arabesque designs of these three palaces to play a role in clarifying and deepening theoretical issues related to Isfahan School. According to what was mentioned earlier using comparative-analytical research method, present investigation tries to divide and compare arabesque motifs according to this motif development and special characteristics in all three palaces. Moreover present investigation tries to answer the question that: do identified arabesques in these three palaces inscribed in the same form. And in what palace they have been formed in exclusive form and what changes have occurred to the nature of these motifs and What was the influences of time on the designs? Results obtained from Field researches, and their analysis from design, color and internal construction of arabesques analysis indicate that, the existence of such motifs has been diminished in Aligapoo, Chehel Sotoon and Hasht Behesht palaces, respectively and the more we go away from start date of this school the less arabesque motifs have been used by artists, tending toward Khatayi designs. To replace the span and abundance and diversity of the arabesque design in the House Alighapoo well- known and rarely seen in heaven, Hasht Behesht palace. Keyword: otifs differences and similarities indicate artistic and historical characteristics of different art schools. Special principles had been employed for artistic works at each historical era which indicate the art school qualities. Wall painting widely boomed, in Isfahan School, due to necessity of palaces, public and private monuments arrangement. Hence wall painting changed to an indispensable part of architecture. It sould be considered that Aligapoo, Chehel Sotoon and Hasht Behesht were constructed at the same historical era. Present study tries to examine arabesque designs of these three palaces to play a role in clarifying and deepening theoretical issues related to Isfahan School. According to what was mentioned earlier using comparative-analytical research method, present investigation tries to divide and compare arabesque motifs according to this motif development and special characteristics in all three palaces. Moreover present investigation tries to answer the question that: do identified arabesques in these three palaces inscribed in the same form. And in what palace they have been formed in exclusive form and what changes have occurred to the nature of these motifs and What was the influences of time on the designs? Results obtained from Field researches, and their analysis from design, color and internal construction of arabesques analysis indicate that, the existence of such motifs has been diminished in Aligapoo, Chehel Sotoon and Hasht Behesht palaces, respectively and the more we go away from start date of this school the less arabesque motifs have been used by artists, tending toward Khatayi designs. To replace the span and abundance and diversity of the arabesque design in the House Alighapoo well- known and rarely seen in heaven, Hasht Behesht palace. Keyword:

https://aaj.semnan.ac.ir/article_2588_6ed5965e429073c73f3719ce937d0081.pdf

Semnan University Journal of Applied Arts 2252-0260 03 Vol.5 2015 02 20 Semiotic Study of Sarbineh motifs in Shiraz Vakil Bathroom Semiotic Study of Sarbineh motifs in Shiraz Vakil Bathroom 23 34 2590 10.22075/aaj.2015.2590 FA Sahar Etehadmohkam Ph.D. Candidate, School of Advanced studies in Arts and Entrepreneurship, Isfahan University Journal Article 2014 08 08 arbineh of Vakil bath in Shiraz is a wide space of the building which is decorated with different motifs. In the Qajar era images of the Holy Quran in Persian literature like the story of the prophet's Muhammad(SAW) Ascension, the story of Prophet Yusuf(AS),sacrifice of Ismail, Sheikh Sna'an and Teresa's daughter from Sheikh Attar poems', Khosrow and Shirin, Farhad and Shirin of Nizami poems', the Story of King Sanjar and the old Woman besides the hunting scenes have been depicted in Lime Berry into tore modelling. This study is based on the semiotics theory of Sanders Peirce(subject to interpretation) and reading stories of explicit meanings and implications of the discovery of themes and common elements of evidence-based Lime Berry sarbineh bathroom illustrated that semiotic science pays to them. According to this study, among the many semiotic theories, Pierce theory seemed a good idea because Pierce steps include identifying a good sign; on the other hand as both subject and audience interpretation of the signs and symptoms and understanding hidden meaning of image include barrier researcher or reader to understand the implications of our evidence stems. This paper attempts to find out the meanings and representations sarbineh images which are all based on the theory of Pierce sign icon and explores their relationship and the roles of interaction and juxtaposition works with narrative themes of sarbineh Vakil bath, lyrical mysticism. Despite the apparent fragmentation of paintings and issues surrounding some of the common used features are" the kindness, compassion and love" ,"desire for human evolution approach intended" are seen which has instituted a universal value thst is an innate human sense. The frequent use of the motifs, stabilized these concepts on the peoples’ mind and also a profound impact on the people to convey these concepts in the ordinary life. arbineh of Vakil bath in Shiraz is a wide space of the building which is decorated with different motifs. In the Qajar era images of the Holy Quran in Persian literature like the story of the prophet's Muhammad(SAW) Ascension, the story of Prophet Yusuf(AS),sacrifice of Ismail, Sheikh Sna'an and Teresa's daughter from Sheikh Attar poems', Khosrow and Shirin, Farhad and Shirin of Nizami poems', the Story of King Sanjar and the old Woman besides the hunting scenes have been depicted in Lime Berry into tore modelling. This study is based on the semiotics theory of Sanders Peirce(subject to interpretation) and reading stories of explicit meanings and implications of the discovery of themes and common elements of evidence-based Lime Berry sarbineh bathroom illustrated that semiotic science pays to them. According to this study, among the many semiotic theories, Pierce theory seemed a good idea because Pierce steps include identifying a good sign; on the other hand as both subject and audience interpretation of the signs and symptoms and understanding hidden meaning of image include barrier researcher or reader to understand the implications of our evidence stems. This paper attempts to find out the meanings and representations sarbineh images which are all based on the theory of Pierce sign icon and explores their relationship and the roles of interaction and juxtaposition works with narrative themes of sarbineh Vakil bath, lyrical mysticism. Despite the apparent fragmentation of paintings and issues surrounding some of the common used features are" the kindness, compassion and love" ,"desire for human evolution approach intended" are seen which has instituted a universal value thst is an innate human sense. The frequent use of the motifs, stabilized these concepts on the peoples’ mind and also a profound impact on the people to convey these concepts in the ordinary life.

https://aaj.semnan.ac.ir/article_2590_32e57326c15b55a42d895d3f6a5f04f9.pdf