Due to the perception of Kant’s “critique of judgment”, Derrida examined “Parergon” conception in the shadow of the concept of framing. Kant draws the secure and non-penetration borders between inside and outside of artwork with Parergon’s sugges tion. Formalism or popular belief “Art for Art” is the result of transcendental reading and away from any conceptual - empirical s tain. Kant introduces aes thetic ideas without any benefit and interes t (quality’s moment), universal experience (quantity’s moment), with infinite forma finalis (relation’s moment) and consequently crucial (modality’s moment) in third judgment using four subsections. In the following, Kant mentions to parergon’s example in fourteenth part of the same book: Anything that is not depended on artwork in terms of intrinsic, it takes accounts as an attachment in terms of outside view; for ins tance painting frames or bodies clothing or jambs around luxurious buildings. With analysing this word, Derrida claims that it is impossible to separate parergon from ergon because the parergon lies on threshold s tatus that it isn’t whether inside or outside of artwork. Likewise, this means that it is actually inside and outside of artwork.
Derrida analyses that Kant reject autonomy of his claim about artwork with applying His analytical method from the critique of pure reason to the s tudy of aes thetic judgment. That is, a rational (cognitive) framework is imposed on an irrational (sensory) s tructure. In Derrida’s view, the parargon designing and the separation of firm between the art and Nonart is watered by an epis temic that captures binary oppositions and can be traced in various forms from Plato and Aris totle to Husserl, Hegel and Heidegger. This paper consis ts of three general sections: The firs t part provides an overview of the basic concepts of Derrida’s ideas (metaphysics of presence, decons truction, differance, indeterminacy, and indecidability). The second part, while introducing Kant’s parergon, deals with Derrida’s reading of parergon and its various aspects. Part Three: In Derrida’s reading of Kant’s paradigm, the challenge inside and outside is explored in Iranian paintings. The fundamental ques tion of the paper is based on the same schema: Given the paradigmatic concept of Derrida, how can one analyse the inside and outside challenges in Iranian paintings? In this section, the indeterminacy and indecidability created by some elements in Iranian painting, such as the frame and the Passe-Partout, are examined through the interplay of the visual factors within each other and passing through the frame. Then the challenges inside and outside these works are analysed in the following areas: 1-Reflecting the spirit of time and the influence of theoretical-mys tical views on the formation of works. 2-The intimate connection of these works with literary texts. 3- The intertextual relation of the works with the earlier works and the influence on the later works. Using Qualitative methods and the use of library and online resources and with a decons truction approach, the paper addresses the mos t critical challenge posed by Kant’s paradigm, inside and outside in Iranian paintings. Such readings can serve as methodological guidance in a variety of visual fields.