Narrative Function (Semiotic square) in the paintings of Prayer, Majnun, Blood Contract, and Hazrat Ali Akbar by Khashayar Qazizadeh

In the discourse analysis of Khashayar Qazizadeh's paintings, it has been tried to pass through single signs, macro-signs, micro-signs, or a combination of signs so that we can go beyond signs, i.e. where signs interact, and reach a discourse-based reading. The objective is to show how the meaning is revealed with the help of fundamental categories of speech or semiotic square in the paintings. We then need to customize discourse analysis theories in this field. We want to know how the author of these paintings has managed to produce meaning by combining these single signs into a coherent system of meaning. Semiologists believe that signs lack any meaning while alone and meaning is obtained intersemiotically. Thus we can maintain that semiologists are interested in the revelation of meaning from among linguistic forms. In other words they are after emergence of meaning from discourses which reveal meaning, or those discourses that transmit meaning and provide ambiguous cooperation. In fact, semiology attempts to study dimensions of speech in a methodological manner. One of these dimensions is semiotic square in speech.