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 The problem of the research is that what is the characteristic aspect of Goethe's attitude towards nature and the depiction of nature in the works of German romantic painters? Therefore, the specific aspect of their attitude towards nature is analyzed in a descriptive-comparative way. Goethe, especially in his youth, in addition to the influence he received from Rousseau, Herder and the stormy and stress pre-romantic movement, had a more romantic attitude towards nature, and in general, nature for him, in his poems and some works, means the life of primitive societies, simplicity and untouchedness in front of civilization. (Rousseau), the spontaneity and immediacy of perception of nature of nature related  to people's life and art, is beautiful nature and God, all of which are considered a kind of romantic perception of nature. Although he also defends classicism, Faust seems to be influenced by the visual point of view of romantic artists. This research comes to this conclusion from the study of Friedrich and Runge's attitude towards nature. It is more romantic. Friedrich moved from the conventionalistic symbolism of his early works to a more refined and poetic naturalism based on Goethe's mood and considered the perspective of the subject to nature in his paintings. Despite Goethe's advice, in his short life, Runge showed the romantic concept of "Hieroglyph of Nature" as an essential element of language and culture.

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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.

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This study aims at investigating theoretical principles of Persian paintings’ in “Blind Owl “in order to highlight the function of this element besides other internal and external origins as the main sources of inspiration of this novel. Research methodology is descriptive –analytic by using and compiling library data .The results showed that the writer who is familiar with painting characteristics’ founds to great extent the basis of his modernist expression on this these principles. As the main characteristics of Persian painting, it should mention psychoanalytic elements, dereism, poly narrative, typical characterization and disclosure of time and space. We can easily pursue the traces of these features in this novel as its foundations. The main scene of this novel, to say the story of old and fairy –faced is a prevalent phenomenon in the history of painting whose elements such as nymphaea, water, cypress etc. establish a kind of symbolic correlation between this novel and Persian painting.  

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The art of carpet weaving has undergone changes during the course of history. This ancient art has gradually found its place among other branches of art due to its artistic and consumer characteristics. The art of carpet weaving has heavily influenced other fields like painting for its elegant ornamentation. This paper will elaborate on the widespread relations between Persian and Italian art during 8-11/14-17 centuries; hence, the influence of the ornamentation of Persian rugs on Italian painting will be analyzed. There are several questions to which this paper seeks to answer throughout the article. 1- What were the cultural, political and trading backgrounds of the import of Persian rugs to Italy during 14th -17th centuries? 2- What are the common patterns of Persian rugs reflected in Italian paintings? The data were competed through available historical documents and images.

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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.