Paintings

Abstract: Non-oil exports are increased in the measures taken, to reduce Iran's dependence on oil revenues. Creating new business areas in different sectors and unused capacities are fac-tors that make it imperative to pay attention to the development of non-oil exports. Ex-port growth is the key to economic recovery for governments. Among non-oil exports, in many countries of the world the export of paintings is important. Some countries can be considered as the oldest painting centers in the world. Among these countries, Iran has its own painting techniques. Hence, developing the export of paintings can stimulate the country's part of the non-oil policy. In this research, we seek to identify the effective factors on the marketing of paintings export as one of the policies on non-oil export of the country. For this purpose, as a qualitative study using the Fuzzy Delphi Method and interviewing with 30 experts in the field of cultural products export and the senior man-agers of governmental and non-governmental organizations, the factors influencing the market of export of the paintings were identified. Based on identified factors, sugges-tions were presented in this regard.

Two oriental and western symbols are recorded in the memory of the world. Kamal Al-din Behzad (1460-1535.A.D./ 865-942 A.H.) is the painter of Iran's golden era and Leonardo da Vinci (1452-1519.A.D./ 857-925 A.H.) is the verstile artist of Italian Renaissance. The life stories of these two artists are more or les similar. During childhood, both experienced a hard time and during youth and adulthood their artistic styles not only changed the art of their own time but have greatly influenced the future generation. Aim: Finding the common artistic opinions, thoughts and behaviors of the two contemporaries but with two quite different artistic, social and cultural styles. Method: In this study, attempt is made to review the works and approaches of the two artists, comparatively and analytically using the archive method. Findings: The common and coincidental features being observed are as follows: 1-Applying dramatic expressionism 2-Applying intuitional and emotional expressionism, particularly in portraiture (expression) 3-Creating emotional relationship among the figures 4-Associating the figures with architectural and natural backgrounds 5-Creating extraordinary figures 6-Directing conflicts 7-Giving conscious attention to war themes (More than a typical narration of an exciting event) 8-Employing spiral infrastructure in composition Conclusion: Some basic common changes occurred simultaneously at two distant places in the Iranian and Italian arts. Although the two artists had been living in two completely different geographical and cultural environment, even working with two different styles in the visual arts, they had rather similar features regarding their ideas and artistic issues. By comparing the works of these two artists, we can find their imaginative behaviors in terms of visualizing ideas and themes as well as narrating religious and war subjects.

The archaeological excavation of ancient Elam has led to the recovery of remnants, showing the rise and fall of a Persian civilization as well as reflecting how music and instruments (musicianship) were popular in those eras. Such archeological findings have mostly been portrayed on rock and pottery. A series of pictograms have depicted musical instruments while the majority of depicted string instruments are harps and tanburs. Wrapped in the Elamite culture, these instruments were passed on to the next civilizations, experiencing transformation over time. This descriptive-analytical research attempts to explore the string instruments in ancient Elam, thereby to review the historical roots of Iranian string instruments. The paper first provides an overview of music in ancient Elam. Then, several pictograms depicting string instruments are examined to determine their diversity and significance. The results indicate that harp and tanbur were the most frequent and diverse string instruments depicted in the paintings of ancient Elam.

Light and color are effective factors in the creation of works of art, which, as the most immaterial element of nature, have always been influential in Iranian Islamic painting, and in fact, they represent the sublime world and spiritual atmosphere Also, the research about light and color in painting and its impact on painters and its contribution to the scope of expressing the influence of mysticism in the whole Islamic culture and art is at the starting point certainly knowing and understanding the three words mysticism, light and color and finding their meaning and meaning in a symbolic way is not only effective in better understanding Iranian and Islamic painting, but also our insight in understanding the Islamic ideas that are rooted in mysticism and Sufism and It also makes the behavior smoother. Colors have a chemical aspect in art, and mixing them is an art similar to alchemy. The main concern of this research, which is presented in an analytical way, is aesthetics and investigating the mystical aspects of paintings and motifs in Islamic civilization in Iranian art and architecture. It seems that Islamic art and architecture tries to manifest God's unity among colors, forms, lights, and sounds. Each color has a special allegory and a relationship with one of the inner states of man and soul. Color is an important factor for spiritual use in the painting effects of Islamic architecture. Mosques in the Islamic world usually use turquoise green and blue colors. Blue and turquoise colors are the main background colors of walls, tiles, altars, domes, and courtyards and along with the golden color in Iranian Islamic paintings, among other colors, they have a special shine and effect. These colors are manifestations of the inner meanings of colors. The colors of turquoise, green and white, which are symbols of nature's sky and divine light, respectively, are mixed together and add to the majesty of the mosques. The colors that result from the radiation of light are a symbol of the manifestation of unity in multiplicity and the dependence of multiplicity on unity. The reflection of the existence of colors in Iranian art shows an extraterrestrial truth outside the world of the senses, rather than imitating the surrounding natural colors. Vigilance and accurate insight in the arrangement of colors and the correct selection of each color refers to a symbolic concept of colors and their mutual effects that permeate the human soul and spirit.