mohammad aref

Comparing the paintings of the Safavid period with former schools shows that the Safavids, following the assimilation policies of the government, were looking for the trends of assimilation of the society by adopting culture through clothes, instruments, and manners. Such assimilation two thousand years after the achaemenid assimilation is unique in Iran. Also, centuries after the Sassanids, assimilation did not occur with the official single religion. During the Safavid era, when Iran was politically unified to some extent and the official religion was Shia, this point was also reflected in the appearance of the people. However, this social change was less felt in the provinces and cities due to the distance from the center of power, and this issue is evident in the study of the paintings of the “state” and “courtly” schools of the Safavid era.In this article, an attempt is made to investigate the process of “assimilation” in the Safavid society by referring to the visual sources of the schools of Herat Teimuri, Tabriz II, and the state school of Estrabad during the Safavid period.The current research is based on an analytical approach and library studies with reference to historical texts.The investigations obtained in comparing the pictorial resources of the Herat school, as a pre-Safavi school, the court school of Tabriz, and the state school of Estrabad as two painting schools of the Safavid period, show that the process of “homogenization” in the Safavid society, as opposed to “multiplicity” before It has led to the formation of a trend and a general tendency to pretend to be uniform and united in terms of clothing and even body language.

Paratexts are the way to enter the text, the peripheral elements of a text that are physically or non-physically around the main text, the paratexts are the entrance threshold of a text, the first communication between the audience and the text occurs through the paratexts, and each text The mediator of the paratext communicates with the outside world. The concept of paratext was first used by Gérard Genet in the analysis of literary works, but gradually it became more widely used. As a sacred text and a miracle of the Prophet of Islam, the Qur'an has been the most important book for Muslims to write, and on this occasion, calligraphy and book design are also flourishing among them. Quran is a book for reading, reading is a physical act that affects the text. In the contemporary world, books are designed for viewing as well as reading. Even though the book of the Quran has been translated, it is widely read and seen more. In the Qur'an decorated by Hossein Zindaroodi, a contemporary Iranian painter, the arrays and decorations of the Qur'an find new roles due to this breadth of communication. that it is possible to examine the Qur'anic arrays in their new connection in a contemporary way with Gerard Genet's theory of paratextuality.

Soroog-e Hejla -ye Qasem is one of the religious ritual performances in Bushehr, which is celebrated splendidly every year on one of the days of the first decade of the month of Muharram. One of the remarkable features of this religious ritual performance is that it is organized by women. Considering the significance of this ritual among the people of Bushehr, it seems appropriate to examine it scientifically, based on field observations and library sources. The research method is descriptive-analytical, and the information obtained through document collection and participatory observation has been qualitatively analyzed using Bronislaw Malinowski's functionalist theory. The purpose of this research is to examine this ancient ritual based on modern anthropological theories and emphasizing the principle of functional necessity, thus analyzing its constituent elements. This study aims to answer the questions of how the mentioned ritual performance, according to the theory of emotional and psychological needs, responds to the emotions and feelings of the performance or what influence the symbolic elements of this religious-performance ritual have on the audience, considering the ideas of Malinowski's four-field theory.

The present article tries to study the analytical and cognitive symbol of the color of pomegranate film, a work of Russian-Armenian director Sergei Parajanov from the point of view of symbolic anthropology. Symbolic anthropology, which has been created along the lines of the 1970s and with the efforts of thinkers such as Geertz, Theres and Douglas in the humanities, sees culture as a set of meanings that are understood and interpreted through symbols and symbols. The cinema is also used as a textual media for transmitting cultural meanings. One of the most suitable tools for analyzing cinematic texts is the use of semiotics, which is a cohesive and fruitful way in cinematic studies. Pomegranate, a film adapted from the life of Sayat Nawa (Armenian poet of the eighteenth century), is a mixture of evangelical symbols, religious portraiture, indigenous art and Armenian folk architecture. This article is based on the Clifford Geertz view, using qualitative content analysis and library methodology, with the approach of symbolic anthropology. The findings show that Parajanov is an expensive Armenian ethnographer who has well-known ethnic and ethnic elements in Armenia, and has witnessed the transformation of indigenous, religious, and religious symbols into the life of the Armenian people during the Soviet era. He has been able to express the mystical thoughts of the Armenian poet by effectively using colloded collages. This article deals with the classification of 10 symbols and symbols in the color of pomegranate film.

Córdoba Grand Mosque is one of the magnificent buildings inspired by the architecture of the Islamic era. The mentioned mosque, with all the changes that Christians have made and allowed to destroy the Islamic identity and spirituality, its door and wall, minaret and altar guide every viewer to his true identity. Jacobsen introduced semiotics as the process of becoming meaningful based on text and architectural eco-semiotics as a cultural phenomenon and a tool for communication. The purpose of this article is the symbolic morphology of architectural elements in the "Cordoba" mosque in Andalusia, Spain, based on the process of land use change. One of the debatable historical monuments in international religious and architectural associations is the Cordoba Mosque and the view of the architects of the two historical periods based on the four religious origins of Christian - Islamic - and Spanish - Iranian. Under current law, three decades of multiple sovereignty over Spanish culture and art are at stake. The findings show that the Charter of Democracy governing the political-cultural atmosphere of Spain in three decades has created the preservation of decorative motifs containing color, form, texture, gender and symbolic elements of dual-use mosque-church and seems to be a prominent international privilege. The mosque has been in intercultural interaction. The method of this documentary-library article and the method of data analysis were also qualitative content analysis.

Among the truly prominent components of ritual arts, one can point to tombstones, whose engraved motifs reflect the locals’ ideology, culture, and worldview, providing a wide lens through which we can see the personality of the deceased and the social, economic, and cultural status of the related groups or nationalities. This article aims to analyze the motifs engraved on the tombstones of Habibollah Shrine (Bandar-e-Gaz, Golestan province) from a cultural point of view, considering that society is their creator. For this purpose, among the 10 cemeteries of Golestan province that were studied, the Habibollah Imamzadeh Cemetery in Bandar-e-Gaz was selected as a case study due to the number of gravestones and variety of motifs. This article tries to answer the following question: How can the semantic, aesthetic, and functional characteristics of these gravestone motifs be discovered through the Anthropology of Art approach based on findings on local culture? The research method is descriptive-analytical, with field observations and library studies conducted for data collection. Among the findings, one highlights the interpretation of three important dimensions of the motifs: semantic, aesthetic, and functional. Based on the cultural study, these motifs represent customs, beliefs, and various levels of society's culture.

Problem statement: 

Decoration is an inseparable element of Islamic architecture. The use of vegetal motifs in the form of simple geometric or realistic patterns on tiles has always been a focal point for architects. Tilework with vegetal motifs in mosques has played a significant role as a tool for conveying religious and spiritual concepts in the Islamic world, establishing a human connection with the divine, and creating a spiritual atmosphere.

This study aims to conduct a comparative examination of the common cultural elements in the decorative patterns of blue mosques in Iran, Armenia, Afghanistan, and Turkey. The present study seeks to answer the question of how the examination of common cultural elements in the decorative patterns of blue mosques in Iran, Armenia, Afghanistan, and Turkey can be articulated through a comparative method.

This study is done using a comparative approach and relies on library and field sources, as well as a method of analysis based on a comparative study of decorative patterns.

The results indicate that there are significant similarities in the vegetal motifs of tiled decorations in blue mosques, which serve as signs and symbols of the cultural heritage of the four regions. These vegetal motifs are inspired by nature and are simplified and stylized in a geometric-vegetal form of decoration. The decorative vegetal motifs in the mosques of Yerevan and Iran exhibit more similarities, while the Blue Mosque in Turkey shows the influence of Ottoman-Byzantine art and culture. The Blue Mosque of Mazari Sharif incorporates vegetal motifs ranging from simple to intricate, drawing inspiration from the Blue Mosques of Tabriz and Turkey. The surrounding nature serves as a source of symbols that evoke meanings in the human mind, such as the tulip flower symbolizing resurrection, the clove representing power, the multi-petal flowers signifying abundance, the thistle leaf symbolizing vitality, and the pomegranate flower which is the symbol of immortality and fertility. Considering that mosque decorations are influenced by governmental tastes, religious beliefs, personal experiences, and climatic conditions, as well as the beliefs and traditions of the local people, the Blue Mosque of Tabriz has played a significant role as the primary and influential model for the other three blue mosques over time.

This research attempts to read three joint-produced films by the Mahmoodi brothers (Navid and Jamshid), "How Many Square Meters of Love", "Breaking of Twenty Bones at the Same Time" and "Going Away", using the category of "the self and the other" in cultural semiotics. According to studies, with regard to the importance of self or other, four different approaches appear in the relation of "self and the other": 1- self and not the other; 2- Not self, but the other; 3- Both self and the other; 4- Neither the self nor the other, after which the four identity types of stability, compatibility, acceptance and anonymity emerge. This research was done in a library method, relying on visual and written sources and in a descriptive-analytical way. The main research question is: what kind of approaches and types of identity do Afghans (as a cultural “other”) adopt towards Iranians? Based on the results of the research, the Mahmoodi brothers show in their works that Afghans adopt all four approaches in proportion to the amount of translation of Iranian cultural texts and, as a result, the amount of interaction with them as well as the way Iranians deal with them. In addition, these approaches are shaped in the form of various types of identity in the destination land, which are shown in the form of behavior and speech of the characters. The selection of these approaches is such that the younger Afghan refugees are, the more they choose identity adaptation, and the older they are, the more they go for identity stability. Referring to these works, “accepting” identity and “anonymity” are less common among Afghans.

The aim this article is to investigate the symbolic and symbolic aspects in the play "Window Window" written by Farhad Nazerzadeh Kermani with an interpretive anthropological approach. In the statement of interpretive anthropology, Clifford Geerts considers two important processes of emic-etic researches as the fundamental elements of the interpretation of works of art. A window on the winds has been able to put the anthropological texture of the drama in a connection between culture, man and nature, and by creating tribal music, it has mixed the archetypes of the people of Kerman. The findings show that the play "Window on the Winds", from the title to the end, with the mixing of the culture of the two characters of Sobar and Mozaffar in the self-made imaginary nature of Badabad, forms an anthropological triangle of interpretation based on the theory of Clifford Geertz to the interrelationships of "man", "culture". and "nature" and place it in the category of ecological semantic dramas. After eight months of being away, Muzafar returned to his hometown of Badabad, Kerman, and under the influence of Loti's reports, he became pessimistic towards his pregnant wife Sanobar. Therefore, in order to protect his reputation, he decides to punish the spruce and takes him to the top of a hill in the desert at night with a rope in one hand and a lantern in the other hand, and ties him to a stone shaped like a donkey's head (Khorsang) to punish him. And he walks away from there with the hyena-like voice of Hamodan, with the assumption that if the fir tree is innocent, it will be saved by the nocturnal singers, and if it is guilty, it will become the prey of wild animals. Signs and meanings in this play express two important aspects of interpretive and visual anthropology. The findings show that the author was able to create new and suitable symbols for the region. In this play, there are about twenty-seven indigenous, tribal, mental, religious and imaginary symbols, which places it in the ranks of anthropological symbolist plays. Both characters in this play speak the same language, but the language of their minds is different. This research was prepared based on the method of descriptive analytical and library-documentary studies and it was also analyzed using the qualitative content analysis method.

The purpose of this article is to provide an analytical study of the roots of the presence of women in Bushehr in the performative ritual Bazaar-e Madineh with an interpretive approach based on Clifford Geertz's anthropological theory. In the religious culture of Bushehr, women, with the participation of men, perform the performative ritual Bazaar-e Madineh every year on the twentieth day of the month of Safar in a contemplative manner as a field performance. In this article, Bazaar-e Madineh is examined with an emphasis on interpretive anthropology based on understanding the cultural symbols in two fundamental aspects: 1) interpretation of cultural-religious symbols in Bazaar-e Madineh, and 2) exploring the impact of women's presence in Bazaar-e Madineh through the lens of interpretive and symbolic anthropology. The research method used was fieldwork (participatory observation and interviews) as well as library sources. The collected information was analyzed qualitatively using descriptive and analytical methods based on Clifford Geertz's interpretive approach, addressing fundamental questions such as key elements in Bazaar-e Madineh, women's position in belief systems, and the historical and cultural origins of this ritual performance in mourning culture in Bushehr. The findings indicate that women in Bushehr play roles similar to those of the women of the Ahl al-Bayt, and their presence signifies three points in the symbolic religious system: 1) animism, 2) collective cohesion, and 3) reenactment of religious beliefs.

In the shadow of the attention of the Safavid kings, various art schools were formed in Iranian painting; The first painting school of this era in Tabriz, with its background from Herat, led to the creation of many illustrated manuscripts, including the Shahnameh of Shah Tahmasab. In the light of the security and attention of the government of Shah Abbas, the city of Estrabad became prosperous and prosperous, and although it could never achieve the prominent position of the art schools of the important cities of that time, it was noticed by the masters of art and became the owner of its style and school of painting. In the Estrabad school, significant works of painting have been identified, most of which are in the British Museum, Topqaposara Museum of Turkey, and Indian Museum, and of course 15 paintings from a copy of the Shahnameh were also found in the Malek Museum of Tehran, which have not been identified and researched so far. The current research aims to identify and investigate the above paintings, in addition to identifying and introducing environmental elements in the paintings of the Estrabad school, some examples of them are evaluated and compared symbolically with the paintings of the Safavid Tabriz school. The present research employed a qualitative method. Selective sampling was employed to choose the samples and data were analyzed descriptively and analytically. The question that current research seeks to identify environmental factors that contributed to the formation of Estrabad school. The selected samples, including five of the 15 paintings in the Malek Museum of Tehran, were examined and compared with the paintings of the same subject as Tahmasbi’s Shahnameh. The results indicate that the Estrabad school has grown though it has been faithful to the experiences and traditions of its predecessors, and besides its unique differences with other art schools of the era, it shows the Safavid intellectual trends in showing glory, power, greatness, and natural gifts. Major environmental elements in the Estrabad school distinguish it from the Safavid Tabriz school and have its distinct environmental characteristics.

Problem:

 A look at the history of the presence of art in public spaces shows that with the change of the paradigm of public art from artist-oriented art to the creation of society-oriented art and audience-oriented art, the choice of the type of public art and the environmental qualities affected by it appear more important. What threatens urban spaces today is the weak connection between the building components of a place, which cannot meet the needs of citizens.

Target: 

The current research aims to investigate the effect of visual art on environmental quality and tries to create the necessary environmental quality in the design of future urban spaces by experts.

This research is developmental-applied in terms of type, and in terms of method, it has a nest-to-nest combination. To answer the research question, the qualitative research method is used in a nest-by-nest quantity. The statistical population is divided into two quantitative and qualitative parts. In the qualitative group of the statistical population, there were 14 experts who were selected by the snowball method. In the statistical population of quantitative research, the sample size is 180 people based on Cochran's formula and random sampling.

The analysis of the results indicates that according to the results of multivariate regression, the component of visual richness with the value of (1.000) has the highest factor contribution, in the second order, the component of enjoying the environment with the value of (0.920) And the lowest is related to the component of improving the individual sense of belonging with the value (0.244). The special attention of urban designers regarding the structure of spaces and the use of extraction measures from the impact of visual arts components in urban spaces in different scales can increase the quality of urban environments.

The aim of this article is the analytical and etymological examination of the applied types of icon (image/symbol) in performing arts, visualization and visual anthropology. the evidence shows that in subcultures and artistic literature of Iran, the term iconology is always subject to pan of tastes, points of view, and common terms that are not related or unrelated to the fundamental field of iconology, thus it has a vague meaning and application. Usually, in the popular culture of Iran, most mobile phone and internet emoticons, intercity and intercultural signs, road signs, emojis, addresses, gestures, arrows, signs and many graphic lines are called icons. While the icon, iconography and iconology have rules unique to the classical/modern format and have a methodical, clear and simultaneously scrutinized structure in the realm of performing arts, painting and visual anthropology. The results of the research show that iconology is an independent and rare method/knowledge in the culture and language of art, which is not an icon without the three pillars of representation - visualization - visual anthropology. This article has been analyzed by descriptive-analytical method and analogical approach, with the aim of qualitative content analysis. Criticizing and reviewing the views and translations and aspects of applying iconology in performing arts and painting and anthropology is one of the most important efforts of this research-oriented article in order to correctly explain the word icon in Iranian culture and art. Therefore, a part of this article has been written with a critical approach, and to raise the issue, it is marked on a number of paintings, stone inscriptions, paintings, photographs, wall paintings, fabric, rock paintings and other formats in Iran. done. It seems obvious that this newly arrived word has received little attention in Iranian art literature between symbol, sign and allegory. Therefore, a critical look at the existing definitions and explaining the structure of the icon is one of the most important efforts of this article.This article presents several Iranian iconographies from the visual arts of the ancient period until now, using a descriptive-analytical method and an interpretive approach, and with the aim of qualitative content analysis, to compare some common foreign and domestic opinions and theories in order to explain the relevance of the term icon in literature and art. Iran has been analyzed.

The purpose of this article is the semiotics of the signs related to women on the tombstones of Golestan province, which has been analyzed with Pierce's semiotics model, which divides the signs into three categories: symbolic, indexical, and symbolic. Death as an influential fact in human life has always led to the formation of different cultural values. A part of the intellectual foundations of the society lies in the behaviors related to death, including the methods of burial, mourning, gravestones and markings on them, which has also been of interest in Golestan province. This article seeks to answer the question of how the iconic, profile and symbolic signs of female gender are depicted on the tombstones of Golestan province? And what are the meanings of these signs? The research method is descriptive-analytical and collect Information has been done in the form of library study and field observation. The result of the research shows that symbolic signs were not used in women's tombstones due to religious prohibition and more symbolic and index signs were used that express the character, occupation and religion of the deceased person and have a cultural meaning. .

The study of folk music has recently gained attention among researchers in the field of music. Also, religious and ritual events, over the time, hold a significant place within this artistic domain. To the extent that they have served various purposes and functions. Ashura music, an integral part of religious music, has been performed in different reigns, including Minab and Muscat, employing a variety of instruments. The progress of this genre of music relies on several factors, which are meticulously examined and evaluated in this research from a structural perspective. From an ethnographic perspective, the combination of sadness with music is significant. Therefore, considering the significance of this ancient art form, the scope of ritual music and instrumentology is also analyzed and described. The findings of this research reveal that the structural analysis of religious music in Minab and Muscat, two geographically similar locations with distinct political approaches, has been specifically explored during Ashura. Furthermore, the study examines the differences and similarities in meanings and concepts during the performance. The current research adopts a descriptive-analytical approach, utilizing both library and field methods. Extensive analysis of numerous books and reference sources has been conducted to understand the structure of this type of music. Additionally, interviews and direct observations related to the topic have been incorporated to enhance the research.

Belief and conviction are fundamental concepts and play a fundamental role in the behavior of people in every society and have a significant impact on the destiny of every nation. Mosul, the second largest city in Iraq, was attacked by ISIS, Mosul is located 400 kilometers from Baghdad. The Tigris River divides Mosul into two halves. The proximity of Mosul to the Turkish border from the north and Syria from the west doubles the importance of this city. Mosul was occupied by ISIS in 2013 with the help of regional and foreign military forces. As a result of destruction, the city changed its historical face. The petrified approach of ISIS and the support of Wahhabism in this event resulted in the destruction of the city of Mosul. Based on this research, belief, which is the foundation of religious and ethnic mentality, played a key and effective role in the process of building and destroying the city of Mosul. This research was done based on Max Weber's sociological theories and with the library method, computer site and news reports in a descriptive-analytical way.

The purpose of this article is the hypertextuality study of manifestations of metamorphosis in Gholam-Hossein Sa'edi's works according to Gérard Genette's theory of hypertextuality. This theory is one of the five types of Genette's theory of transtextuality which concentrates on inspiration, derivation and effectiveness of the hypotext on the hypertext. Besides, this theory includes two basic types, imitation and transformation. Metamorphosis is considered as one of the most remarkable elements in myths, folk tales, and legends. Based on this process, unexpected and gradual changes demonstrate themselves in the appearance and sometimes in the conscience of the creatures and they transform from one form to another while displaying different performances. Moreover, sometimes they can appear in the combined structure of humans, animals, plants, and objects. Literature is the origin of presence of these manifestations and they have had mutual effects on each other over the time. The mutual impressiveness and effectiveness provide an opportunity to study them with respect to the theory of hypertextuality especially by considering contemporary literatute as the target resources which fewer researchers have focused on it. The results of the study demonstrate that the manifestations of the metamorphosis exist in thirteen stories, one novel, six plays, and three screenplays written by Gholam-Hossein Sa'edi. In this article, based on the descriptive-analytical method, these manifestations were classified and determined in three different groups and then they were studied based on a qualitative content analysis. At the end, impressiveness of these manifistations in Gholam-Hossein Sa'edi's works from ancient literature and folk tales has been studied according to the hypertextuality theoretical framework. The results represent that Gholam-Hossein Sa'edi sometimes has used these manifestations with direct and indirect influence of ancient and religious narratives and folk tales (hypotext) in his works (hypertext), however, in most of the time, he has used his creativity and imagination to make these manifestations in favor of progress of the story.

The real goal of this essay is to study all encrypted aspects of Iranian ceremonial masks (Borge) with through archetypical approach. Symbolic masks had always different positions in theater culture of Iranian people. They were sometimes in contrast, effective, meaningful positions for different ceremonies with symbolic, decorative, natural and entertaining modes. Symbolic masks (Borge) have been applied through the time as scene accessories for providing symbolic roles in public culture. Iranian culture and literature has so much reasons and assumptions for all cultural differences of symbolic elements. The relevant stories and backgrounds of masks make this process as clear as possible. Symbolic masks (Borge) are based upon various stories related to ancient characters (oral or written) of public culture with various theater, political, comic, cultural, social and even economic applications. According to the results of this study, it is clear that symbolic masks are famous in Iranian culture and language as Borke, Borka, Borg and/or Borge. They are a symbolic concept with companionship of crow in all seven indigenous native and religious rituals of the Myth of Mitra. The origin of symbolic masks (Borge) returned back to the 3rd millennium BC in Iranian culture and literature. At present, symbolic masks are used by people in south part of Iran, Afghans, Arabs, Armenians and other Non-Iranian groups. They are sometimes named as Borghe’ in Arabic culture and language. Armenians have also a drama ritual named as Barigentan which is named as Masquerade Ball (Bal Masque) by Armenia scholars of art. Iranian symbolic masks (Borge) have found symbolic form in compliance with rituals, seasons and cultures. The research method of this study is library-documentary-field one (Participative observations of writer in research field).

The purpose of this article is to study hidden dramatic elementsEspecially ecological illustrated dialogues and mind games in “Death of Yazdgerd" play by Bahram Beyzai, and "Cat and Fish" screenplay by Shahram Mokri, from a symbolist anthropological perspective, analytically and etymologically. These works are symbolic semantics with a new form and content which transmit of mental concepts in Iranian dramatic literatures. Therefore, they were considered by many critics and people inside and outside Iran. With using the symbolist anthropological approach,The death of Yazdgerd Bahram Beizai has also been considered by twentieth-century anthropologists, including Branislav Malinowski and Clifford Geertz, for reasons hidden in the work of hidden functionalist features.this article shows that these two works text elements are rooted in universal thinking, which has enabled these two works to communicate with the world through symbolic effects. This article has been prepared by descriptive-analytical method and has also been analyzed by qualitative content analysis method.

Native elements are one of the most important components of the formation of visual texture in culture. The texture of the image of Iranian culture is full of symbols and signs that have emerged from the heart of native elements. Symbolic anthropology deals with the understanding and interpretation of culture with the help of symbols and signs. Throughout history, symbols and signs have used media such as images and writing to express their values. Typography is one of the powerful image and writing branches in today's world, which has been able to communicate with the roots of image and writing and has achieved an independent function in this connection. The purpose of this article is to find the impact of native elements on Iranian typography from the perspective of symbolic anthropology and what consequences this impact had on Iranian typography. The method of examining the findings is descriptive-analytical and based on library study and case examples of Burjamaneh's works from Iranian civilization. From this, 7 cultural symbols of Iran have been examined as findings in this article. The findings show that native elements have played an essential role in shaping human constructions and his knowledge of his surroundings. Typography in its various forms is affected by these knowledge and constructions. In the most basic form of knowing the environment around him, the intelligent man has gone to the creation of symbols and signs. In the examination of symbols in Iranian art, traces of native elements can be searched. These elements are expressed in the form of symbols and signs in the image and text. The body of Iranian art is full of these signs, which in each period has adapted itself to a different thought of the time and has emerged as a unique Iranian art from the heart of the thought of each time. Native elements can be considered as the characteristic of every culture and civilization that forms the cultural context. Native elements have a significant impact on the shaping of ethnic aspirations, far and near. Desires that are mixed with life, death, creation, cosmology, totem, pilgrimage, rituals, marriage, the world after death, etc. Therefore, native elements should be considered a turning point in the formation of these concepts. Today we look at the image with a deep attitude. The image for us, whether written or in the form of a pure image, has many meanings that we can interpret through our knowledge and understanding of the image. Symbolic anthropology is the methodology of our interpretation of these signs. A bird in a stamp that looks up, a hexagonal captive ram, or the writing of Bab al-Hawaij, which has a hand association with science, all have a specific definition according to our bio-ecological understanding of the image. Typography is the art of designing a message (concept) in the form of an image or writing or both, which conveys a specific meaning according to the geographical location where the designer and the audience live.

The purpose of this paper is the hypertextual study of the compound metamorphosis myths in Bahram Beyzai's plays based on the theory of Gérard Genette. Hypertextuality is one of the types of Genette' transtextuality, which represents the connection between two texts. This theory expresses the effectiveness and derivation of the hypotext on the hypertext and includes two basic types, imitation and transformation. The compound metamorphosis myths are considered to be one of the most important surprising elements in the literature. In metamorphosis, creatures transform from one form to another and in the combined structure, creatures are represented as a composite of humans, animals, etc. Literature is considered as the origin of the presence of myths which both impress mutually on each other. This connection provides an opportunity to study them with respect to the theory of hypertextuality. The results of this study reveal that these creatures exist in eighteen plays written by Beyzai, and their existence is inspired by mythological literature, folk tales and heroic poems. In the process of turning mythological narratives into plays, Beyzai has been loyal to the main themes and has often used them directly. The methodology of this paper is descriptive-analytical, and based on the qualitative content analysis, the features of the compound metamorphosis creatures have been identified in Beyzai's plays and according to the theory of hypertextuality, the interactions of the plays with ancient literature have been studied.

Dialogue writing methods in dramatic theatrical text is considered one of the most challenging fields of study in dramatic literature. Its a relationship with performing arts on the one hand and language studies on the other hand. The scope of the discussion about the subject is also wide in the field of interdisciplinary studies. Based on this, it can be claimed that the linguistic turns of the 20th century also affect the fields of dramatic dialogue writing. One of the language philosophers who played a major role in this linguistic turn is the late Ludwig Wittgenstein. With the idea of ​​language games, he brought expanded the fields of meaning making of to language bringing with it into new contexts. One of the elements that can be considered as a common point between art and language in this regard, is the field of imagination. Imagination is also a language game that is used and manifests itself from the presence of language users. The purpose of this research is to know the method of developing and expanding the way of dramatic dialogue writing using the idea of ​​the language game of imagination according to Wittgenstein. To understand this method, this article has chosen the play The Death of Yazdgerd by Bahram Beyzai. The question is, how did Beyzai benefit from the language play method of imagination in expanding the dramatic language of the text of The Death of Yazdgerd? The hypothesis can also be defined in such a way that it seems that Beyzai in the language game of imagination has chosen network methods to expand the language of conversational writing. The current research is based on the practical purpose, in terms of the library information collection method, which is based on the qualitative method and based on the descriptive nature. The descriptive method is the method proposed by Wittgenstein in dealing with language as a philosophical concept. The result is that Beyzai has used denial, acknowledgment, and the method of understanding-aspect to shape the basic rules of his language game, in order to deeply doubt the secondary grammar of his language, that is, due to the doubt he created in his representational position doubts about the date of Yazdgerd’s death.

The hunting motifs of Bahram Gur's painting are considered as the themes with "religious" and "mythical" essence in "Iranian painting". Despite numerous researches on paintings related to Bahram Gur's hunting, these works have so far been less studied in terms of the possibility of representing religious concepts and mythical beliefs. These works are mainly based on literary texts related to the Islamic period, especially "Ferdowsi's two narrations" in "Shahnameh" and Nezami in "Haft Peykar" and some lesser-known sources. These sources have narrated events related to "Bahram Gur" in the context of history, but not exactly in accordance with historical facts. The reason for this is the influence of the literary texts of the Islamic period on the literary features and Sassanid historiography, that is, "mixing with Iranian myths and legends and magnifying the heroism". This means that the efforts made in the historical and literary texts of this period can also include an indispensable part of life and events related to Bahram Gur. Therefore, it is expected that in illustrating the works of the "painting in question", in addition to historical narratives in related events, the manifestation of his religious aspects and myths in the structure (form and content) can be observed and followed in a more specific way. Therefore, the research has been done with the purpose of filling the gap of existing studies and giving insight into the relationship between the religion and myth with the selected paintings. The research questions are: 1.what is the relationship between "religious concepts and mythical beliefs" as a pretext, with "hunting motifs of Bahram Gur" in "Iranian painting" as the "final texts". 2. Which of the possible pretexts, religious or mythical, had a more important influence and place in the formation and richness of the theme of Bahram Gur's paintings? In this research, relying on the descriptive method using the "hypertextual" approach, the position of "religion and myth" in the content of selected works has been analyzed. Data collection was also done using library studies, documents and visual study of selected paintings. The combination of seven selected works in the present study includes: two works taken from Shahnameh by Ferdowsi, two works taken from "seven figures" by Nezami, one work from the history of Balami, one work from the collections of Amir Alishir Navai and one work from an unknown source. Results of the studies have shown that: Religion and myth have effective relationships in the formation of hunting motifs of Bahram Gur during the Sassanid period and then in the reproduction, and the continued presence of these motifs in Iranian painting. In the context of hypertextual and intertextual relations, the existing conditions have moved towards the transformation in religious pretexts and in mythical ones. Religion in concepts and generalities and myths in the form and descriptions of paintings, and in some cases with overlap, have provided the means to improve the quality of the works. According to the hypertext theory, the relationships towards transformation or homogeneity can never be considered as "absolute". For this reason, based on the studies conducted during this research, the general and "relative"  type of hypertextual relationships in the selected paintings  was determined, which were studied and summarized in the form of "tables and analyses". The divisions made in this table show that although religion and myth have each had approximately the same requirements for the effect (presence) on the examined final texts, in this case the transformations and effects of the presence of religion tend to decrease or even eliminate. This is the case, if the elements, concepts and beliefs related to myth, while expanding and increasing in the final texts, have shown a more noticeable and effective presence in the paintings. In addition, the study of visual elements and qualities in the selected works shows the attractiveness of the topic and the existence of repetitive elements and motifs related to this character. Repeatable patterns have formed a kind of uniform visual pattern by which the form and appearance of these works became closer to each other.  These features can provide the grounds for considering them in the form of generalities of thematic art in the forthcoming studies; that the religious and mythological foundation and essence should be sought in its components and elements.

In the twentieth century, the rotations of language studies in the philosophy of language have affected many other branches of philosophy, including imagination studies in arts. Ludwig Wittgenstein, in the position of one of the figures of the philosophy of language in the twentieth century, tried to shake off the philosophy of language from being merely theoretical and make it nearer to method. So, his reports -particularly in the recent era- are the ways to recognize the functions of language in line with the method-orientation of the structure. The purpose of writing this article is to access the expansion ways of dramatic language, with an eye to imaginative language structure based on Wittgenstein’s opinions. Accordingly, the scenario of “Maybe, Another Time!” by Bahram Beizaei was chosen in which the linguistic games are clear. In this research, this question has been answered: how can Wittgenstein’s method in the imaginative language structure result in the expansion of dramatic language? On this very basis, this hypothesis is strengthened: it seems that Beizaei has combined different elements by mixing various structures of imaginative linguistic games to help with the expansion of the dramatic language of the work. This research is applied in terms of the goal and qualitative in terms of the documentary data collection method, and it has been conducted based on descriptive nature. According to the results, imagination-generation and formation of its linguistic game in the addressed scenario, possesses different forms and has led Beizaei to combine different verbal methods in dialogue-writing and illustration, and achieve the production of a special linguistic structure by network imagination method.