The concept of iconography and its applied types in performing arts with the approach of visual anthropology

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.