per 4 Advanced Studies of Art 9 10 2024-06 4 4 7 16 article fahime naghshbandi fahime.nagshbandi@gmail.com 1 University of tehran Art criticism is actually the application of criticism theories and evaluation is one of the basic components of art criticism. Conflicting interpretations and conflicting evaluations of a work of art have caused some critics to deny the existence of criteria for evaluation. In this research, by using Carroll's multi-category criticism method, it is argued that not only there are criteria for evaluation, but in art criticism, the existence of these criteria is often assumed among critics and audiences. Considering the placement of Mehdi Hosseini's works in the category of contemporary Iranian painting, we can understand some of the hidden aspects of his works. In this article, in addition to recognizing Carroll's multi-category criticism, the author's intention and the relationship between the art form and the artist's choices and how to use them in artistic evaluation have been discussed. The figures created by Hosseini are an image that has become an abstract identity with successive reductions. . He re-evaluates visual values ​​and uses their combinability to achieve a balanced aesthetic that is not far from the essence of Iranian painting. What is important for him is not merely imitating the appearance of painting and at the same time continuing it in this era and facing the inner characteristics of Iranian painting.   http://art-studies.ir/article-1-123-en.pdf Mehdi Hosseini Noel Carroll art criticism Plural category aproch per 4 Advanced Studies of Art 9 10 2024-06 4 4 17 36 article Mostafa Yazdanpanah m.m.yazdanpanah@ut.ac.ir 1 From the very beginning of the establishment of the institutional aspect of Art by the Academy, artists took a stand against it; These stances, which began in the nineteenth century with the demonstration of alternative exhibitions by Gustave Corbett and then the Impressionists, and continued in other forms by Avant-garde artists of the twentieth century, paving the way for the emergence of "Institutional Critique" critical discourse. This study shows that "Institutional Critique" was formed under the influence of the "Anti-institutional attitude" around the 1960s and succeeded to transcends the Avant-garde movements by utilization of the institutional knowledge acquired through the practices of Avant-garde artists, the "Institutional Theory of Art" and "The Sociology of Art". "Institutional Critique" included a wide range of methods and practices that were applied by artists who aimed at subverting or reforming and expanding the institutional framework of Art; these artists according to their common goals, in academic studies, are canonized as the "two waves", in addition to their influence on the functioning of the Art institutions -especially the Art Museums-, provided the basis for the formation of several theoretical and practical discourses. Therefore, understanding this critical discourse can be considered as a prerequisite for achieving a comprehensive knowledge of Contemporary Art. This article, which is considered fundamental research, from a methodological point of view is a Descriptive-Analytical that has used library sources to provide a general understanding of the "Institutional Critique". In the first place, it tries to identify the factors influencing the emergence of the "Institutional Critique", then analyze the Artworks and opinions related to the associated artists, and finally has a look at its performance and its effects on contemporary Art. Also, the lack of this topic in Persian-language studies provides another reason for doing this research. http://art-studies.ir/article-1-129-en.pdf Institution of Art Institutional Critique Anti-institutional attitude Avant-guard Art Neo Avant-garde Art critique of Art museum Contemporary Art per 4 Advanced Studies of Art 9 10 2024-06 4 4 37 58 article Faizeh al_ Sadat / mino Abbasi / khani Honarmandd60@gmail.com 1 2 The Islamic revolution started with a kind of protest that goes back to before 1357; revolution against the government that took place in the field of Art and in the form a revolutionary painting reflected the emotions and feelings of the painter from the situations and events that had happened. This issue was manifested in the works of religious and non-religious painters since the time of protests. Habibullah Saddegh and Nusratullah muslimian are examples of the two factions mentioned above. Finding the differences and similarities by focusing on the revolutionary works of Habibullah Saddeghi and Nusratullah muslimian was the purpose of this research, and an attempt was made to answer the question that how and with what measures was the Islamic Revolution of Iran reflected in the works of Iranian painters? From the objective point of view, this research was applied and from the point of view of descriptive_analytical method with thematic comparative approach and the information for this research was selected from the paintings of Habibullah Sadeghi and Nusratullah Muslimian, three works from each artist the aim of being related to the revolution era and its beginning. Surveys showed: The similarity in these works is the direct reflection and narrative of part of the social events in a Figurative form of the working class with the subject of the people, their struggle and a human theme using national and religious symbols in the style of narrative Expressionism has expressed oppression and oppression. Their difference is in the way of expressing and displaying the works. Sadeghi showed the perpetrator of oppression with specific elements and Muslimian used a symbolic method; Saddeghi has seen the oppression of people in death, men under the veil, man in a plate and barefoot, and Muslimian in a pregnant woman, the killing of people and the yellow body; the painter's protest against this situation in Sadeghi works is a corpse with raised hands, crying and a manin red and Muslimian are expressed in the form of grabbing the ground, open mouth, clenched fists, covering the face with hands, movement of people and red flag. http://art-studies.ir/article-1-127-en.pdf The revolution the painting of the revolution Habibullah sadeghi Nusratullah muslimian. per 4 Advanced Studies of Art 9 10 2024-06 4 4 59 74 article mahdi khosravi khosravimahdi333@gmail.com 1 masoud naghash zade naghasham@gmail.com 2 Traditionalists wrote and left behind many works on traditionalist art. Although their intellectual scope was broader than mere attention to art and covered vast aspects of life, what was important was their attention to art, which they discussed in details. According to them, an idea like, there is no place for art for art's sake; in fact, from the traditionalist point of view, art is a window into the Holy Land through the recollection of the infinite and absolute of this supreme truth. One of the most important features of traditional art is order and unity, which strive to correspond to the qualitative and so-called essential dimension of the cosmic image. By paying attention to these elements, traditional and sacred art evokes and expresses sacred matter, Sacred knowledge is central to traditional theory. Through the reflection of traditional art, which is an expression of the sacred, pop artists lead people towards the ultimate and eternal truth through the knowledge of the universal divine. This sacred matter must manifest itself in mystical form in the form of a work of art. In traditional thinking, it has the conceptual form of Aristotle and Platonism, the form is the expression of the essence of the object. In traditional art, objects must move from one another to reflect unity in diversity. Now this study will study the possibility of using elements of traditional art in cinema, a modern art form that still has many limitations in recreating traditional art.   http://art-studies.ir/article-1-124-en.pdf Traditional art Sacred knowledge cinema expression of the sacred per 4 Advanced Studies of Art 9 10 2024-06 4 4 75 90 article Pejman Dadkhah P.dadkhah@eqbal.ac.ir 1 Farnaz Khiabani farnaz.khiabani@yahoo.com 2 The Alhambra Palace is one of the most famous monuments of Islamic architecture located in Granada, Andalusia, Spaine. It has inspired artists for artistic creations.  Francisco Targa is one of the artists who, influenced by the unique beauty of the Alhambra palace, created a work called Recuerdos de la Alhambra for classical guitar. The piece is performed with the tremolo technique and is one of the important pieces in the classical guitar repertoire. Due to the importance of this piece to classical guitar players, the purpose of this paper is a comparative study of the architecture of the Alhambra Palace and Recuerdos de la Alhambra. This article examines the common elements of architecture and music in a descriptive-analytical way and the use of library and internet resources, and then analyzes and examines the influential elements of the architecture of the Alhambra Palace in the Targa piece. The results show that despite the differences in the world of architecture and music the Alhambra Palace and Recuerdos de la Alhambra have something in common and influence the perception and feeling of the audience by their influence on each other.   http://art-studies.ir/article-1-130-en.pdf Alhambra Palace recuerdos de la alhambra Francisco Tarrega Spanish Architecture Tremolo per 4 Advanced Studies of Art 9 10 2024-06 4 4 91 99 article Seyed Mohsen Haji Seyed Javadi sogra1398@gmail.com 1 MaleehaH Mardani hajsayyedjavady@pnu.ac.ir 2 Payam Noor University, Tehran East, Department of Art and Architecture, Payam Noor University hajsayyedjavady@pnu.ac.ir Art Research, Payam Noor University, Tehran East, Department of Art and Architecture Purpose: Drawing in children is their visual language. Most children reveal their inner world through drawing. The purpose of this article is to study the effect of painting therapy on reducing the anxiety of 6-8 year old children in Qazvin city. Until an answer to the question, does painting art education reduce anxiety in 6-8 year old children of Qazvin city? will be. Methodology: In terms of purpose, the current research is one of the applied researches and according to the type of data collection, it is considered as a semi-experimental project. The method of collecting information is based on a library in the form of reviewing documents and documents, reviewing theoretical frameworks, reviewing national and international experiences, reviewing theses, and using; Spence's improved child anxiety questionnaire is a short form. The statistical population of the present study consisting of children aged 6 to 8 years in Qazvin city were selected in 1402-1403. whose number is 1290 people. From the girls' school, two classes in the first grade were randomly selected using available sampling method. One class was the control group and the other class was the experimental group. The number of students in the experimental group and the control group were 30 from each school (totally 60 female students (30 in the control group, 30 in the experimental group)) after coordination With the selected schools and after randomly selecting one class as the control group and the other class as the experimental group, anxiety pre-tests were taken from both classes. Then, ten 90-minute sessions of teaching and drawing tools were presented to the experimental group. But no intervention was done for the control group. After the training for the experimental group, both groups were given a post-test of anxiety. In order to analyze the data, SPSS version 18 statistical software was used. Findings: There is a significant difference between the mean anxiety of children: pre-test and post-test in the experimental group (F=5.305) (P<0.05). A graphical examination of students' anxiety state showed that drawing training was effective in reducing anxiety. Conclusion: Familiarizing children with the art of painting can be helpful in reducing future fears and anxieties.   http://art-studies.ir/article-1-131-en.pdf drawing therapy children anxiety