per 4 Advanced Studies of Art 9 10 2025-03 4 7 7 32 article Sahar Anvaary sahar.anvaary@ut.ac.ir 1 Ali Khaksar alikhaksar@ut.ac.ir 2 University of Tehran University of Tehran During the Ming dynasty, the initiation of Sinicization by the rulers and the promotion of a national style in Islamic architecture led to the construction and reconstruction of numerous mosques in the traditional Chinese architectural style. Given that the Great Mosque of Xi’an is a prominent example of mosques constructed in the national style and is situated within an extensive series of courtyards, and considering the intrinsic connection between traditional Chinese architecture and garden design, this study aims to identify and elucidate the elements and characteristics of traditional Chinese architecture and garden design as manifested in the Great Mosque of Xi’an. The primary research question addressed the specific architectural and horticultural dimensions of traditional Chinese architecture that are evident in the Great Mosque of Xi’an, and the mechanisms through which these elements are expressed. In this regard, this descriptive-analytical study employed a historical methodology. Data collection was conducted through a comprehensive review of existing literature and online sources. Based on these findings, it is evident that the influence of traditional Chinese architecture and garden design is reflected in the spatial organization and detailed features of the Great Mosque of Xi’an. This is particularly apparent in the creation of distinct spaces and micro spaces, such as the crescent moon observation tower and the memorial pillar enclosure. Additionally, elements characteristic of Chinese gardens, including inscriptions in Chinese, stonework, and water features, are prominently integrated into the mosque’s design. Furthermore, the Great Mosque of Xi’an exemplifies several key principles of traditional Chinese architectural design. These include the hierarchical progression of access to the main space, the emphasis on privacy and the prevention of direct sightlines, the focus on central axis and symmetry, the balance and stability alongside fluidity and continuous change, and adherence to the principle of polarity. Most notably, the mosque’s design integrates a harmonious unity with nature, evident in the spatial organization, layout of passages and crossings, and the expansive arrangement of the buildings. However, it is crucial to note that certain features distinguish the Great Mosque of Xi’an from traditional Chinese architecture and garden design. Specifically, the mosque’s orientation towards the qibla and the presence of Arabic inscriptions impart unique Islamic characteristics, setting it apart from conventional Chinese architectural and horticultural practices.   http://art-studies.ir/article-1-139-en.pdf Chinese architecture Chinese garden design Sinicization Chinese national mosques Great Mosque of Xi’an. per 4 Advanced Studies of Art 9 10 2025-03 4 7 33 58 article susan shavandi S.SHAVANDI5857553@GMAIL.COM 1 farimah fatemi farimah.fatemi@pu.ac.ir 2 Faculty of Arts, Tarbiat Modares University This research investigates the principle of closure in typographic posters with an emphasis on legibility. The research method used in this article is descriptive-analytical, and the data collection approach relies on library resources. The objective is to analyze and examine the posters created by the graphic artist Paul Rand, who purposefully employed the principle of closure alongside typography, paying particular attention to legibility, to enhance audience engagement. The result of this approach stimulates the mind to complete the incomplete letter forms, allowing for the recognition and retrieval of the original letter shapes in a readable and meaningful way. This theory generates excitement in the viewer, leading to better retention of the poster’s message. Over time, the poster's message can be recalled through associative processes when similar letter forms are encountered again. All these efforts are aimed at prolonging the lifespan of the poster and ensuring the graphic designer’s message remains memorable.   http://art-studies.ir/article-1-157-en.pdf Poster Closure principle Typography readability Paul Rand. per 4 Advanced Studies of Art 9 10 2025-03 4 7 59 76 article Yasaman Khanjari khanjariyasaman@gmail.com 1 University of Tehran, Faculty of Fine arts Diego Velázquez's Portrait of Pope Innocent X is widely regarded as a significant work of the Baroque period, drawing attention from artists and scholars alike since its creation. This study adopts a psychological-biographical perspective and applies Terry Barrett's method of art criticism to investigate the complex dimensions of this painting. It begins with an exploration of Velázquez's life and career, including the social, cultural, and artistic contexts of 17th-century Spain and Italy. Particular emphasis is placed on the impact of Renaissance and Baroque masters, such as Titian and Rubens, whose influence shaped Velázquez’s distinctive artistic approach. The research further explores the historical and political circumstances surrounding the commission of the portrait, shedding light on the symbolic importance of such representations during that era. The analysis then focuses on the visual and technical aspects of the painting, including Velázquez’s meticulous attention to detail in rendering facial expressions, his strategic use of lighting to emphasize form and texture, and his mastery of color to create depth and mood. These techniques effectively communicate both the official authority of Pope Innocent X and his underlying psychological nuances, offering a layered portrayal that invites deeper interpretation. A key focus of this study is Velázquez's departure from traditional portraiture conventions. By delving into the psychological and emotional layers of his subject, Velázquez transcended the role of mere representation, offering insights into the emotional depth and inner world of Pope Innocent X. The findings underscore the lasting impact of Velázquez’s innovative methods, which have influenced artists across generations. Over the centuries, this painting has been revisited and reinterpreted in diverse artistic contexts, reflecting its enduring relevance as a subject of critical and creative engagement. This research also highlights the dual function of art as both a mirror of its time and a timeless exploration of human nature.   http://art-studies.ir/article-1-153-en.pdf Diego Velázquez Pope Innocent X Baroque painting Art criticism. per 4 Advanced Studies of Art 9 10 2025-03 4 7 77 90 article Diba Shayani Majd dibamajdd@gmail.com 1 The term "rhizome," which was first introduced into philosophical discourse by the influential French philosopher Gilles Deleuze, literally describes the horizontal, branching stems of certain types of plants that grow underground. However, Deleuze imbued this term with a much deeper significance, positing that it encapsulates one of the defining characteristics of the postmodern condition. This multifaceted concept of rhizome can be intriguingly paralleled with the realm of interactive art, which has gained prominence in recent years as a transformative mode of expression. Interactive art refers to a distinctive mode of presenting a work where audience members are invited to assume an active role as creators rather than passive observers. In an interactive performance setting, for instance, while the director establishes initial conditions that set the stage for engagement—much like planting seeds in fertile ground—they do not impose a rigid map dictating how the performance will unfold. This fluidity mirrors the nature of a rhizome itself: decentralized and non-hierarchical. Similarly, audience behavior within such interactive pieces is inherently rhizomatic; each participant brings their own unique interpretations and insights to their engagement with the artwork. As individuals share their perspectives with one another—like branches sprouting from a common root—they generate a rich tapestry of meanings and interpretations that proliferate throughout the duration of the work. The potential for transformation in interactive art aligns beautifully with Deleuze's notion of becoming. This ongoing process not only enriches the experience of the artwork but also highlights the interconnectedness of individuals within a shared creative endeavor. In this way, interactive art becomes a living entity, constantly in flux, challenging traditional notions of authorship and inviting a more collaborative approach to art-making. The rhizomatic structure of these works emphasizes the importance of each participant's role, suggesting that the collective experience can yield new understandings and insights that go beyond the original intentions of the artist.  http://art-studies.ir/article-1-154-en.pdf Rhizome Gilles Deleuze Interactive Performance Rhizomatic Elements. per 4 Advanced Studies of Art 9 10 2025-03 4 7 91 108 article Behzad Mohebbi bmohebbi@uma.ac.ir 1 Afsun Azimi Moghadam Afsun.azimi@yahoo.com 2 University of Mohaghegh Ardabili Tarbiat Modares University One of the important visual elements in creating a better and more effective connection between works of art and the audience is the element of color, which we have witnessed in cinema with a slight delay. Color, which has been prominent in the works of contemporary artists for centuries since the beginning of the creation of works of art by cavemen to this day, is now used by directors in the seventh art in order to directly influence the psyche of the audience. This type of cinematic view of color and its use in characterizing and creating space for communicating and transmitting symbolic, psychological, and perceptual concepts to the audience has been successful. The present study, which is fundamental in nature and conducted in a descriptive-analytical manner, seeks to analyze and explore the effects of color in the cinema of "Akira Kurosawa" and especially the" Dodes'ka-den" (1970), as his first full-color film, which is considered the beginning of the director's second period of filmmaking, and the powerful effect of color in characterizing, creating space, and creating temporal and spatial situations in the creation of this work has been studied. The results of the research show that color is used effectively in the film Dodeskan as a main and powerful element for character development, separating the imaginary world from the real world, and creating specific temporal situations.   http://art-studies.ir/article-1-155-en.pdf Cinema Color Akira Kurosawa Dodes'ka-den. per 4 Advanced Studies of Art 9 10 2025-03 4 7 109 130 article Fatemeh Gholami Houjeghan fat.gho.houjeghan@ut.ac.ir 1 Hassan Bolkhari Ghehi hasan.bolkhari@ut.ac.ir 2 Mina Sadri mina.sadri@ut.ac.ir 3 visual arts faculty visual arts faculty visual arts faculty The event of the Mi'raj (Ascension) stands as one of the most profound and transcendent occurrences in religious history, inspiring numerous artistic representations. Among these is the illustrated manuscript of Nizami's “Khamsa” (Or.6810), preserved at the British Museum, which holds a significant place in the history of art due to the involvement of Behzad in select illustrations. This study examines the relationship between the narrative depiction of the "Ascension of the Prophet Muhammad (ﷺ)" and the text of “Manazil al-Sairin” by Abdullah Ansari. The main objective is to uncover hidden connections involving the concept of “yaqzah” (wakefulness) from the perspective of the "Sage of Herat" and its relation to the narrative image, the Prophet’s gestures, and his bodily language. The significance of this research lies in identifying both explicit and implicit links between Persian mystical texts and Persian paintings, contributing to the advancement of related studies. Employing a descriptive-analytical approach and utilizing library-based resources, this investigation focuses on an image attributed to Mirak. The central research question revolves around how “yaqzah”, as the initial stage of the spiritual journey, is manifested in the miniature according to the viewpoint of the Sage of Herat. Findings indicate that Nizami's verses in this section primarily emphasize the Prophet Muhammad’s complete attention to the celestial mercy and his anticipation of divine benevolence for his community. By inscribing «لَا إِلَهَ إِلَّا ٱللَّهُ» on the Kaaba’s curtain a phrase signifying the oneness of God the artist seeks to evoke genuine remembrance, awakening individuals from spiritual negligence and initiating the state of “yaqzah”.   http://art-studies.ir/article-1-158-en.pdf Practical mysticism Abdullah Ansari Ascension Nizami's Khamsa Persian painting.