عنوان مقاله [English]
Due to the cultural and artistic background of the climates, contemporary art can be thoughtful and thoughtful. The aim of the article is to compare the contemporary methods of engravings in Urumieh, Tehran, Rasht, Mashhad and Malayer, in which it is possible to study history, plot and role. , Products, techniques, in the form of five flat, convex, concave forms (search, tjej and sting), volume and network, innovation, tools and materials. The question is what are the contemporary Iranian art practices in the mentioned cities, and what are the points of differentiation and their share? The research is descriptive, analytical and comparative. Data collection is done by the library method and especially field research. The research field is a workshop with experience, active and introduced by the cultural heritage of each city. The findings show that the embroidered designs in the city of Tehran, due to the fact that the location of art interactions is influenced by the tradition, and especially the need for market day. Works in the form of mosaic and embossments, volumes and sculptures, wood furniture, use of the role of wood and linework. Malayer, who produces a significant portion of Iran's furniture, has imported imported roses from Egypt, Turkey, Egypt, Cheng, Italians, Chenggokh (Sadeqi), Tibetan Flowers, Flowers and Vegetables, Sculptural, Relaxed and Classical. Traditional designs have been used. The Mashhad embellishment with flowers, shrubs and slavs has traditionally been combined with the line in religious places and the volume and statue of the furniture. The relatively large coinage of Orumiyeh includes the shrubs, shrubs and slaves, animals, miniature paintings, Shahnameh's illustrations on backgammon, realistic and fusion designs. The embankment of Rasht is decorated with the use of its lush climate, with human images of animals, animals or birds, flowers and mental images of nature, and in particular the carvings.