مجله جلوه هنر
سال چهاردهم شماره 2 (تابستان 1401)

All textual and pictorial motifs on boulders, rocks within caves, stone inscriptions, etc. are carved or engraved and are referred to as petroglyphs. The petroglyphs are the oldest and most durable substrate for the recording of human images, and the most common petroglyphs are generally goat's pattern, particularly male goats.The goat's motid has been a vivid presence in Iranian visual culture for a long time, with its oldest sample discovered on petroglyphs. This pattern may also be seen on a variety of containers, woven handcrafts, fabrics, coins and other pictorial products. Rocky paintings are frequently a realistic combination of patterns of animals, humans, plants and symbolic or textual components like inscriptions.Petroglyphs are often classified into two types: mountainous/desert petroglyphs and urban/rural petroglyphs. The first example is mountainous and desert rocks that have been painted or engraved in the location of the stone, namely the mountain or desert. Another example is the transmission of boulders from the mountainside to urban and rural regions, where they are painted after being transferred to the city or hamlet. The most well-known examples in Iran are the Izeh rocks in Khuzestan, Ganjnameh in Hamedan and the tombstones in numerous Iranian graveyards.Typically, mountainous rocks depict images of human and carnivorous animal goat hunting, meadows, ceremonies, written inscriptions, or levees. Poems, religious themes, virtues, orisons, prayers and coded and symbolic numbers are also inscribed on the rocks on the graves and in the city.This research aims to provide a better image of goat painting in Persian civilization and understanding of Persian petroglyphs, with special attention on the desert and rocky stones painted with pattern of the goat.As a result, we examined the assessment of two rocky and desert Petroglyphs in Iran, Shoushtar and Gotvand region in Khuzestan province and the Golpayegan and Khomein area on the common boundary of Isfahan and Markazi provinces.Petroglyphs in Khuzestan province include "Eshkaft lam Gerdoo" in the Shoushtar region and "Dare Kiars" inside Gotvand. Petroglyphs of Isfahan and Markazi Provinces also include Teimare and Mazayen in the region of ​​Golpayegan city in Isfahan and Khoravand in the north of Khomein city in Markazi province.This research answers the topic of how visually and thematically the goat's pattern was produced, as well as the form and style of implementation and display of this pattern in these areas. The pattern of the goat in these petroglyphs is explicitly investigated in this research, and other images and the symbolic purpose were not considered.Aesthetics, theme analysis, symbolism, semiotics and other studies have been undertaken on the petroglyphs from various sections of Iran. Previous studies have mostly concentrated on reporting mostly on the state of the two locations and have not taken into account the iconic analysis of these motifs. This issue is distinguished by its conformity with four details: structure, content, and material, drawing style, technical methodology with a visual appearance, and research method with a specific view of prior study are conducted.The current comparison study has a core objective and a qualitative approach. This study's information comes from textual library sources, specialist articles in credible scientific and information databases, as well as some field resources. The goat pattern in Petroglyph of two locations surveyed was analyzed and established utilizing visual evidence in this approach. This survey's statistical population comprises five Persian rocky zones with multiple stone carvings and an abundance of goat patterns. There are a total of 26 petroglyphs in the region of Shoushtar's lam Gerdoo, 10 of which are goats and 16 are carnivorous and pack animals.In the area's petroglyphs, there is also a realistic human-like pattern carrying something like a bow. The Kiars region also has 11 paintings, 9 of which show goats, while 2 others depict a pack animal and a human with a sling instrument. On the other hand, because of the availability of goat patterns in this region, and in order to avoid repetition and resemblance, a total of 16 goats in a variety of settings of this area were chosen, of which five patterns were chosen from the Timar region, seven from the area of the dare Mazayen, and four from the Khoravand Mountains.The study's findings revealed that the main visual difference between goat patterns in the two places analyzed is primarily in the horn element, which ranges from abstract to realism as an indicator element of goats, particularly male goat, in the rock items under consideration. The horn has always played a symbolic, enigmatic, and magical role as a sign of the goat's battle and power, and the actors of these roles have always paid special attention to this aspect and portrayed part of the symbolic role of the goat's pattern.The abstract pattern of goat horns in central Iran's three districts of Golpayegan and Khomein is one sample. The linear performance of the goat and the stretch of the goat's body, notably in the pattern of the goats in the Kiars Gotvand area, and the dominating pattern of goat with the surface element in the triple areas of central Iran, are two more differences in the visual play of this pattern. Another part of the visual portrayal is painting the element of masculinity in the Kiars region.Another feature of the study was a goat without a muzzle, a long neck, and circular horns in the Mazayen area of Golpayegan. In the two locations, the motifs were identical in other parts of the goat's body, such as the tail, muzzle, and legs, and there was no major variation in their themes.The expertise and methods of engravers in the central area of Iran in the abstract and symbolic construction of goat horn show a distinction between goats, which might be attributable to the artists' abstract thinking or the presence of such animals in this location.In both analyzed areas, the goat pattern is frequently a blending of realism and abstraction in the meadow and hunting style, and the execution method of this pattern is frequently carving and percussion.The whole pattern of goats in the Khuzestan region, particularly in the Lam Gerdoo area, confirms that these goats were neither antelopes nor domestic, and that their creators were likely shepherds who turned to drawing during their grazing. Furthermore, the more professional perspective of the Golpayegan and Khomein painters, as well as the abstract and inventive drawing of the horns, leads to the conclusion that the creators of these patterns are most likely hunters or drawing experts, and their painted goat is an antelope.Regardless of the time and precedent of the Petroglyphs in the two regions that have yet to be specified, there is conjecture between the goats and the cultural continuity, the continuation of the arc of the goat horn to the end of the tail or its circular form within the goat's head and the resemblance of the horn of many of the two goats analyzed by the circular goat horn on the glass in the fourth millennium BC, Shoush district of Khuzestan, are the reasons for this statement.Hence, the authors express their gratitude and appreciation to Shooshtar's Cultural Department, Mr. Chaharmahali and Ms. Elham Alizadeh, and also Dr. Alireza Zarasvadni, for their honest collaboration..

Picture books for children cover a wide range of topics, one of which is to introduce and present the ways in which children are confronted with difficult concepts of life, such as the concept of death and the loss of loved ones. Death is a reality which most human beings no matter young or old, experience it and this event confronts human with new conditions of life that clearly affect children. Reading books on how to deal with the tragic events of life helps children to gain a deeper understanding of the tragedy after experiencing it and to return to a normal life after overcoming the crisis and accepting it. The synchronization of text and image in picture books, each of which deals with the subject in a way that is ultimately provided to the audience in the form of an integrated whole as a picture book, can be one of the effective ways to help the child audience get out of this bottleneck.Helping children requires knowing how children think and process information. One of the ways to help them includes reading books containing topics and pictures on the subject of death. A picture book is a template that can hold all kinds of children's literature. The picture book is not just for children, but in today's illustrated world, adults also enjoy their own picture book; but the content of the children's picture book covers the whole range of children's literature, and at the same time the structure and form of its presentation is diverse and diverse.This study examines picture books with the concept of death published in Iran and answers the question that what methods do fiction books use to convey the concept of death to children? The present study, which is applied in terms of purpose and qualitative in terms of the nature of data, has studied descriptive-analytical picture books with the theme of death published in Iran. Information is collected in the form of libraries and documents (articles, books, reputable online resources and picture books for children). In the initial surveys, 46 picture fiction books (authored and translated) on the subject of death for children were identified, which were published in Persian between 2003 and 2020. Among them, six titles have been written and forty titles have been translated from non-Persian texts. In the leading research, first the concept of death and then mourning for children aged 7 to 12 years has been studied. In the following, two picture books with the theme of death, created by one artist as an author and an illustrator, are examined. The selection of these two books has been purposeful and according to the different approaches of the artists towards the subject of death.The two picture books examined in this study are the book "Duck, Death and Tulip" written and illustrated by Wolf Erlbruch, German illustrator and author and creator of picture books, and translated by Mahsā Mohammad Hosseini and Farzāneh Shahrtāsh from Shahrtāsh Publications (2018) and the other book titled Death on the Apple Tree is written and illustrated by Kathrin Schärer as the author and illustrator, and translated by Parvāneh Oroujniā (2017).In the studied works, an attempt has been made to acquaint the audience with the phenomenon of death and to make death a part of natural life. That the child has the right to grieve in the absence of the deceased and to mourn in various ways. The use of animal characters in books is aimed at better understanding the audience and embracing a reality that may be disturbing to this audience which is the child age group. Many children have pets or have encountered animals that may die. In this way, animals in the child's mind replace humans and people around them. Another common feature of the books is at the end of the story. That death is part of the nature of the life of every creature that breathes. In fact, the moment a person is born, his death is born with him. The story is about companionship and empathy with the child, as life goes on after the death of a loved one, and mourning must end somewhere. While the memory of the deceased will never be lost; but the child must return to normal interests and routines. The image next to the text helps to better understand this content. In many cases, the image complements and expands the text.The atmosphere of solitude is with the greatest emphasis on the main character, the mourning character or the character involved in death. Sometimes the lighting of the scenes is such that all the audience's attention is focused on the main character. It seems that these empty and often monotonous spaces are a way to create suspense in space and better understand the loneliness of the mourning character by the audience. From the beginning, the child is faced with a normal life in the story, it continues with the main character until it is time for the mourning to end and the child learns that death is an integral part of life. In both books, Death accompanies the main character as a calm and patient friendship instead of a direct confrontation. Until the time comes for the subject to travel with the death phenomenon. Then the audience will find out what the consequences of immortality can have. The coloring in the two books reviewed is a bit bright. Finally, all samples try to reduce the fear of death and express the inseparability of death from life. Their stories and images accompany the audience to take them to the stage of accepting and overcoming this fear.

The progress of photographic technology, in addition to facilitate the registration of events, provides the possibility of fast and vast sharing of images and increases the interaction about them. This condition can lead to major social movements, public awareness and tremendous development; as we were witnessed social opposition with Trump immigration policies or informing and attracting public opinion toward dimensions of the massive oil leakage in the Gulf of Mexico. By arriving the golden age of photography between the years 1930 to 1950, new subjects such as ethics, privacy and honesty of the photographer were raised in the photographic world and the photographers' population showed their adherence to these concepts based on various regulations.But with the arrival of amateur photographers who, - thanks to the digital age and the expansion of technology, got the chance of attending in this field –adherence and ethics were challenged. This challenge can be investigated from two directions, ignorant and non-dominance of these amateur photographers with management of the image content, and different readings that audience may have from an image. Hence, recognizing and examining different readings of a photo can help photographers, media and content producers for better transaction of the message and restrict other possibilities (meanings). In this research, the main and most basic question is about the variety and affecting factors of audience readings from news photos. It should be taken under consideration that is news photo consider as an artistic photo? How far can these photos affect the audience and start social movements? Can these images have a different reading from the real message of photographer and its published media?Hence, in this research five photos among the most controversial news photographs of the decade (2010 - 2019) has been selected and analyzed by analytical - descriptive method, the audience reading of the pictures has been examined by using Stuart Hall's theory. These five photos are 'The crying Girl at the Border' (John Moore, 2018), 'Venezuela's Crisis' (Ronaldo Schemidt, 2017), 'Captured Bird in Oil' (Charlie Riedel, 2010), 'Aisha' (Jodi Bieber, 2010) and 'Assassination in Turkey' (Burhan Ozbilici, 2016).Stuart Hall's theory of receiving in the article ‘Encoding and Decoding in the Television Discourse' (Hall, 1973) states that the meaning of the text is in a place somewhere between the transmitter and the receiver of the message. The transmitter encrypts the concept in his / her message in a particular way, but the receiver may decrypt it in a slightly different format. Hall classifies different readings into three categories: Hegemonic (Dominant) reading, Negotiated reading and Oppositional reading. In his view, the media encrypts its works according to the target community and social contexts of that group, but the audience (receivers) is far from the media's goal and behaves differently while facing the messages. So, despite of the media's attempt to induce a message and impose it on the audience, the recipient of the message shows different readings according to his or her way of thinking and social class in which he lives. The audience, who trusts the media, receives Dominant reading of that product. The audience, who trusts the media but reflects on the message and compares his perception with it, receives Negotiated type of this product. The audience who is unreliable to the media and believes its messages are manipulated receives Oppositional type of reading.Also, in order to analyze the content, semiotics and composition, Pierce's opinions have been used to investigate the factors affecting the diversity and plurality of readings. Charles Sanders Peirce has provided the most complete classification for signs. He examined and categorized a sign from various aspects. His classification is the most important type of classification in semiotics science. His views have special emphasis on 'implication', so recognition of signs, interpretation and subject are of the foundations of his theory. In this study, three groups of signs- iconic, indexical and symbolic -have been selected from a variety of species explained by Pierce that are more used to study media and cultural phenomena.The researchers in this study first examined the narrative and marginalization associated with each image, and then examined the composition and semiotics of it, and at the end, different readings received from each item collected by library method, and classified in three categories : The Dominant, Negotiated and Oppositional according to the results obtained from the research, it can be said that the news photo has characteristics that distinguishes it from the other types of photos, such as photography in a very short time interval, without prior knowledge and reflection of reality without any siding; but despite all these differences, news photography can be considered an artistic photography as well. News photos can cause movements. News photographers are at the forefront of the struggle to maintain the free flow of information and publish the most unseen events to the world. These photos can trigger a common sense, such as sympathy or anger, and accompany the audience in the shortest possible time and create a challenge against the current situation. The value of news photos, despite the very momentum nature of them, has a great deal of dependence on proper composition, impact and meaningful elements, speed of photographer and his choices.The ambiguity of the image, focusing on wrong subjects, choosing inappropriate shutter speed, wrong depth field, and so on can push a photo away from its true value. If in each of these parameters, an inappropriate or wrong selection happens, the photo cannot transmit its message clearly. Each news photo, despite the purpose of the photographer and the publisher media, can have different readings from the audience side. In other words, each photo – after its publication - starts its free way to inform and acknowledge, and the publisher no longer has the authority on the message which has been received by the public; but this route can be guided by the conscious selection of the photographer, paying attention to the proper composition and layout of the visual elements in the photo, better framing, attention to color and optical spectrum, appropriate focus point, minor correction and editing. The message transmitted from the photo largely depends on the number of Dominant or Oppositional audiences. Nowadays, the message of the photo is determined by the interactions of the audience on the internet and social networks. Although by promotional techniques and public opinion guidance, these views can be partially guided, however, the more fans of one of these groups to the other, the more the message will be directed to their category. Even though this reading (message receiving) is in conflict with the main purpose of the photographer. Few news photos can be found where there is no conflicted type in it. Therefore, the relevant photographer and media should limit any side view by selecting right picture and right edition.

The number of films that are made in different countries of the world today in long and short forms, fiction and documentaries, etc., is very large. In the early days of this invention, there was no concern about finding a suitable subject for filmmaking, but today it is safe to say that it is not a subject that cinematographers have not dealt with. New sources must be adapted to make new films. Artists always use pre-existing art sources to create their work. Throughout history, artistic texts have always been a source for the use of other works. No artistic text is formed independently and there is always a trace of previous texts in it. When a text explicitly refers to another text or work, if the connection is beyond mere copying, the second work can be said to have adapted from the first work. Adaptation is one way to achieve new themes in creating works of art. Among the arts, cinema has the largest volume of adaptations. Literature provided cinema with a suitable beginning for adaptation, and storytelling and narration in films was one of its results. Works adapted from history, novels, plays and short stories have always been an important part of cinematic productions. The research that has been done on the sources of adaptation in cinematic works has been mostly related to literary sources. 1-‌ Films that have been made according to the nature of photography. In this category, most of a photographer's life is considered. Either the main actor is a photographer and he has events in his life or the main actor wants to be a photographer. For example, in the movie The Rear Window, the main actor is a professional photographer who breaks his leg and sees the neighbors' house with the camera. In Blow-up, the film actor is engaged in photography and accidentally takes a picture of a corpse. In the City of God movie, the main actor lives in a dirty society, but he wants to be photographed. In the one-hour photo movie, the main actor is a lonely and middle-aged man who works in the instant photography department of a supermarket. In the Flags of our Fathers, the accuracy of an important image is examined and in the Night Crawler movie, a petty thief accidentally enters the job of a reporter and journalist. In this category of films, no attention is paid to special photos or the aesthetic appearance of photography. 2- Films that were made according to the Photographic images left by photographers. In this category, the recorded photos of famous photographers have been considered and the filmmaker has made his film based on those images. Like Rescue Rayan Soldier movie, the opening sequence of which was inspired by Robert Kappa's pictures. Or the movie Naked City, was made based on the photos of Vigy, a documentary and crime photographer. In The Virgins Suicide film, in which several sisters commit suicide due to the severe hardships of their parents, a single photo of the filmmaker's is adapted. In Carol movie that is the relationship of two young women, one of whom is a photographer, and finally in Moonlight movie, which is the narrative of the three stages of a black actor's life in the city's slums is inspired by the photographs of Early Hadnell and Vivian Sassen. A noteworthy point in this category is to pay attention to a photo or a set of photos of the photographer. The filmmaker makes the content or the aesthetic appearance of the photos a criterion for adaptation. The remarkable thing about these two categories of films is that, in the first category, photography clearly shows itself and does not need to be explained by critics; but in the second category, it is not at all clear that the films are based on the visual nature of a number of images. In this category of films, only with the analysis of knowledgeable critics or the explicit acknowledgment of the director or cameraman that the viewer notices the adaptation of a number of specific photos. Therefore, it cannot be claimed in this group that the adaptation of the photo and photography has affected the audience or even the success after the show, because the ordinary viewer is not able to recognize this issue. If a film has achieved a special place among the mentioned works, the reason should be sought in countless other cases that contribute to the success of a film. The number of films made based on photography is not large, and cinematographers in both categories of films, in most cases, have acted freely and have shown their mental perception of the desired photo or photos. In this limited number, the subject of photography in the first category of films is the main theme, It was not and only provided a platform for another story. In the second category, it has an effect on the aesthetic background of the images and this effect has not significantly affected the semantic process of the film. But obviously, photography can have a huge impact on creating new ideas for filmmaking and be adapted as a suitable source.

In the Aavant-gardes movements that 20th-century art has seen before the 1940s, painting, sculpture and poetry have been intimately connected. On the other hand, applied arts have been not only the best content for industry, but also as a medium in the hands of artists. After World War II, movements were formed that were particularly central to freedom of expression.  The Cobra movement is one of the important movements that took place at that time, when extraordinary expectations and events of the future were expected and a large number of artistic geniuses were active at that time.The artists founded the Cobra movement, one of the most important and influential movements of the 20th century, with the aim of creating a better society and thinking that creative expression could be the creator of a global language. This movement held many exhibitions and published a magazine called Cobra during its career, and despite the short time of its official activity, it had many influences in the formation of other future movements.This movement, which was formed in Paris in November 1948, was a reaction to the conflict between Abstruction and Figuration, and founded by poet Joseph Navare and painters such as Carl Apple, Constant, Corneille, Cristian Detromonte and Asgar Jorn. Since most of the artists in this movement were living around Copenhagen, Brussels, and Amsterdam, the name of movement was chosen by the initiative of these three cities, hence the article is called CoBrA.Members of the Cobra movement reject western rationalist culture, which they believe world war II shows its consequences and devastation, and with the hope to achieve the sources of artistic creations, seek their forms that are not polluted by Western laws and rules. These forms include totems and magical signs of primitive cultures, Eastern calligraphy, and prehistoric arts. At the same time, this group of artists is also mindful of the untapped aspects of their own culture; nordic folk art, primitive art, the simple art of the childless world, and even the art of mentally retarded people. In their view, these works are very strong and powerful and are closer to the nature, instinct and psyche of individuals and in fact represent the artist's deep identity.The artists of the Cobra movement, whose focus was freedom of expression, did not place any restrictions on their own in terms of methodology or content of the works. So, in their artworks, pottery works are found numerously. Pottery works of this movement have no similarity and direct relation in terms of the method, form and content of the works with pottery in its traditional meaning and form. Therefore, understanding and accepting these works like every other artwork depends on understanding the thoughts of their creator artists. Therefore, the following research is looking at how the form and content of the works of pottery members of this movement are. The main question discussed in the article is: How are the pottery works of artists of the Cobra movement in terms of form and content?  So, this research has been set into two main parts including the research literature and data and results of the research. The research literature first takes a brief look at the cobra movement, which introduces the movement, and then looks at the pottery works of Cobra artists and studies the beginnings of pottery for them and the prominent artists in this field. In the data section and the findings of the research, it analyzes the characteristics of the pottery works of these artists in the form of five main features, that are extracted from the studies in this field.This paper has been conducted with an applied purpose and descriptive-analytical method and analyzes the pottery works of artists of this movement. The information and data were collected through library and electronic documents. The selected samples were selected by descriptive method and based on research objectives and available samples. Data analysis was performed by qualitative method. There is not a reliable and comprehensive source in Persian regarding the Cobra movement, the formation and thoughts formed in this movement and only a few references have been made to it in books and electronic sources that deal with contemporary Western art. However, in Latin, there are many books called  COBRA that analyze the thoughts and works of its artists.In the study and research on the cobra movement and the characteristics of the art of its members, some cases have been highlighted, colorful and important in their works. These characteristics can be distinguished in a few cases, which can be seen in most of the works of members of this group, by any method and material they have been created. Studies conducted in this study showed that the artworks of members of this movement are accompanied by several important features that were extracted and categorized for ease of information presentation and coherence in the text. According to the studies, the works of the members of this movement have some characteristics including the freedom of the artist to create the work and create the works without preconception and unconsciously, the primitiveness of the works and attention to the art of the primitive tribes, the creation of childish works, the anti-professionalism of the works created by the artist and the creation of the works collectively  and in groups, which were dealt with in detail in the text of the article. Only a few artworks of members of this movement are created and there are not many available examples of these works. But this limited number somewhat represents a unique, transformative and influenced atmosphere of the thoughts of members of this movement and their analysis is not possible except through their thinking.  Therefore, it can be said that the works formed in this movement have five main and general characteristics in their form and content. All of these features and sometimes a number of them are evident in the pottery works that the main of which is freedom and improvisation in the creation of the work which is seen in almost all the works created in this movement. Paying attention to children's art and primitive art are other features of Cobra pottery artists that has been addressed in many cases. Another common feature of all these works is the unspecified of its artists that lead to the point that these works have made by artists who are not potters and are mainly painters or sculptors, and even poets and writers are among them. Creating group works in the pottery works of artists of this movement is an emerging phenomenon at the time when the works are simultaneously created by several artists. These features can be explored not only in pottery works, but also in other works done by the artists of this movement.

Nations have their heroes unimaginable qualities from ancient times; these heroes are sometimes eternal and out of reach like the gods in ancient Greece, the spirits of nature in the land of Japan, and the Emshaspandan in ancient Iran. Each of which is the source of transcendental powers, and sometimes, like earthly and ideal beings, who have appeared in the national epics of every nation, fulfilling the golden as well as unsatisfied desires of a nation. Like Shishigami or the spirit of the Japanese legendary nature and Rostam and Esfandiar in Ferdowsi's epic. It should be remembered that in all myths, the two forces of "good and evil", "Ahuraian and demonic", "good and evil" are always in conflict with each other and "good" will prevail over "evil" and for this reason, the same concepts are seen in the creation of most tribes. The controversy of this duality, one of which is rooted in light and good and the other rooted in darkness and evil sometimes it will end up in the hands of mythical heroes. In the history of ancient Iran, two forces are constantly in conflict with each other, one is the symbol of light and good and the other is the force of darkness, which represents evil. The force of good is the force of Ahura, and the force of evil is demonic, like the gods of good fortune in Japan, who in some manifestations worship demons or symbols of evil. In the manifestations of good and evil, the heroes manifest all the positive traits, and the anti-heroes also manifest the characteristics of evil Therefore, anti-heroes engage with them sometimes for sensual purposes and sometimes to diminish the ability and competence of the manifests of good. These concepts are now conveyed to the audience in the new format with the same messages in this way, the manifestations of the forces of good and evil were widely narrated first in the form of stories and legends it was possible that through art, the heroes in them became visible and carried their own identity and message. In the field of art, animation and anime are some of the appropriate ways to turn myths and stories carrying the concepts of good and evil into a visual message in communicating and conveying the message to the audience. It can be said that animation is one of the most faithful media to the theme and structure of myths inspired by myths and can present the narrative to the audience from a new perspective. Persian and Japanese myths and legends carry some similar features, including in the manifestations of good and evil which can be displayed through animation. In other words, the elements in myths and legends are a good tool for illustrating and ultimately creating an animation. One of these Japanese anime works is The Legend of Princess Mononoke by Hayao Miyazaki and Iranian Animation is the latest story by Ashkan Rahgozar which seems to have a common basis in representing the concepts of good and evil in their images to convey to the audience. Thus, the question posed in this article is: The manifestations of good and evil in contemporary Iranian and Japanese art in the two cases of the Japanese anime Princess Mononoke and the Iranian animation of the last Fiction, what do they have to do with each other? And its purpose is to discover the relationship between the forces of good and evil in the contemporary art of Iran and Japan in the two cases of Japanese anime Princess Mononoke and Iranian animation is the last story. This research is of descriptive-comparative and has been done by library tools as well as observation and review of some Iranian and Japanese animated cinema series. The method of data analysis in this study is qualitative, relying on the research method and by the focus of the present study, comparison and study between picture data on two case studies have been done pictures and texts in this article are mutually exclusive and complementary. In addition to written documents, pictures are also referred to as advanced research goals. Based on the cases mentioned in this article, first, in two sections, the conflict between good and evil, as well as good and evil in creation, are described in general from the point of view of Iranian and Japanese mythology. Then, for a better understanding of the contents, a review of the Princess Mononoke anime and the animation of the last story has been formed. In the following, by examining the method of characterization in two works of form and also the colors used in creating the character of the representatives of good and evil (hero and anti-hero) are examined. As well as the transformations made in the form of the characters of good and evil in the form of Mononoke have been studied. Finally, in addition to adapting the characters of the Iranian guards to the Japanese ninjas, the effects of the demonic touch on the bodies of the heroes and the visual changes in the appearance of positive characters have been studied. It should be noted that using the mentioned method in research, the nature of which is a kind of comparison between cultures and nations opens the way to the issues, questions, and goals in the present article. In the section on the struggle between good and evil, it should be said: The conflict between good and evil is also referred to as the war of light and darkness. This is also the case in the creation of most nations and nations of the world from the point of view of mythology, and the very beginning of the creation of the world, its system has been a dual system. For example, in the creation system of Iran and Japan, from the point of view of mythology, from the very beginning, the forces of good and evil enter the world arena. They are the product of evil. Sarwan is in the Pahlavi writings of the god of time. According to Zoroastrianism, at a time when nothing existed, Zarwan worshiped as a constant god to have a son with the ideal characteristics of Ormazd. At the same time, the devil's sperm is formed next to Ormazd. In Japanese mythology, as well, there is a double standard. The Japanese male deity is called Izanagi Nomikoto and the female deity is called Izanami Nomikoto. Izanagi and Izanami descended on the earth according to the order given by the old gods, they were ordered to create the earth, and finally, they built a suspension bridge between the earth and the sky and stood on it. Izanami is the god of good and Izanagi is evil. Today, such concepts, in the field of art and the production of anime and animation, in addition to differences in nationality, sometimes appear in the same way in the form of pictures. These functions and similar forms can be derived from the use of some identical visual elements in the creation of the characters of the two works. The creator of the artwork, with elements such as form, color, texture, and other visual features, can show the good and evil of the nature of the characters in the anime and animation to the audience through the pictures. Because by using these elements in character creation, some concepts can be represented in a way that is more understandable according to the taste of today's audience. In the Japanese anime, The Legend of Princess Mononoke by Hayao Miyazaki and the Iranian animation The Last Fiction by Ashkan Rahgozar, which have a legendary-mythical genre, some of these performances have the same function and sometimes the same mood. The mentioned cases are a kind of narrator of the manifestations of good and evil in contemporary Iranian and Japanese art in the form of anime and animation.

Similarities and innovations in works of art are always among the things that cause them to be compared with each other and to study the extent of their impact. The late Gothic Florentine artist Giotto was able to transcend past traditions by imitating nature. He created a new chapter in Western painting based on visual observation and experience. He prefigured a new order in western extroverted painting. Hence, because of his innovations and creativity, he is considered one of the leaders of the Renaissance and the father of western illustration. On the other hand, Giotto's artistic initiatives became one of the factors in the emergence of the Renaissance in Italian art and caused painting to enter a new era. The "Mourning for the Body of Christ" mural 2 is one of 37 Giotto murals in the Arena Prayer Hall in Padua. In this work, Giotto’s innovations and novelties in painting have clearly been demonstrated. At the same time that Giottos’s artistic initiatives took place in Italy, several illustrated copies appeared in Iranian painting that were different from what had emerged before, including; The great Shahnameh of Abu Sa'idi, known as the Shahnameh of Demut, which unfortunately is kept in the separate collections in the world museumes. In the paintings of this version, we see the emergence of elements that have not already been common in Iranian painting. One of these paintings is "Lamentation on the Coffin of Alexander", which is especially similar to the "Mourning the Body of Christ" mural of Giotto. Both works are representations of a mourning scene that have emerged in two different cultures, although at a point in time close to each other with similar and evocative visual elements. Due to the similar innovations manifested in the two works, the authors tried to compare them in order to find out the differences between them and to examine the extent of their influence on each other. Considering that Giotto’s mural was painted almost two decades before the Shahnameh mural, it is confirmed by documents that Giotto was a pioneer in innovations. Therefore, the possibility of Shahnameh being influenced by Jo Giotto to is raised. Undoubtedly, in order to reach the appropriate result, study and analysis of the relations between the two countries has a special importance. Examining the interactions between the two regions, it was found that in the mentioned period, due to religious, commercial and political issues, the connections have increased. Hence, we are witnessing the expansion of trade, religious and political relations in the two regions, which results in the presence of merchants and traders due to the high quality Iranian silk trade, Christian missionaries due to the importance of Christianity, propagation of this religion and also Christianity of some courtiers and princesses of the Ilkhani court. In addition, the travel of Italian ambassadors to Iran and the visit of a group of Iranian ambassadors to Italian cities were other connections between the two regions. As a result of the contacts, the Italians settled in Iran, especially in Tabriz, set up a consulate in Iran and built several churches in the cities of Maragheh and Tabriz. Therefore, we are witnessing an increase in travel between the two countries, especially in the cities of Genoa and Venice from Italy, and Tabriz, the capital of the Ilkhanid dynasty, the place where the great Ilkhanid Shahnameh was created. The purpose of this research is to study and analyze the illustration method and innovative arrangements of artists in the two selected works compared to the past, to analyze the visual and structural elements and thus compare and adapt them to achieve their commonalities and differences and to study their interaction with each other. In this way, by examining the details, the discussion of generalities has been taken to detail and the underlying layers of the work have been explored in more detail to express the differences and commonalities more clearly and in detail and to reveal the overlaps. Also, the authors try to get a clear picture of the relations between businessmen, ambassadors, missionaries and artists of the two countries by searching historical documents. The present study seeks to answer the following questions according to the mentioned goals: 1) What are the innovations of the two works and the differences and commonalities of the selected works? 2) Considering some visual similarities visible in the two works, which are some of Giotto’s innovations in the field of painting, along with the relations formed between the two countries, is it possible that Shahnameh's painting was influenced by Giotto’s mural? The research method in the present research is based on a descriptive-analytical method. While describing the two works, since Giotto’s work was depicted earlier, its temporal analysis is performed in order to examine the effect of the mentioned work on the Iranian painting. The similarities and differences between the two works are also analyzed using a comparative approach. In the section on the relations between Iran and Italy in the fourteenth century, the historiographical method has been used, which has studied the historical sources and travelogues in the mentioned period, so that the similarities of the two works can be understood. The method of data collection in the present study is citation of library resources and the study is conducted qualitatively. The results of the research demonstrate that in addition to the identical theme of mourning in the two paintings, we see similarities such as being influenced by Byzantine art, the emergence of realism, the representation of movement, the role of a statue from behind, the representation of emotions in the face, and the use of hand movements to express emotions. The differences also include the space of formation of the two works, the type of composition, the use of color, the position of the main body, the level of passion of the mourners, the symbolic elements of the role and the purpose of the artists in depicting the two works. Historical studies between the two regions also show the comprehensive expansion of relations and interactions in the political, religious and commercial dimensions, which are the most important factors in the transmission of culture and art. Nevertheless, ultimately despite innovative similarities and the development of relations and interactions, a definite document regarding the influence of the two works was not obtained. In summary, we cannot claim with certainty that the mourning of Alexander's corpse from the great Ilkhani’s Shahnameh has been influenced by the mourning mural on the body of Christ by Giotto. Nonetheless, the present study has opened the way for future research.

According to the verses of the Qur'an and Islamic traditions, Imam Ali(AS) has many virtues and Iranian painters, in different historical periods, have illustrated his image. In the Manuscripts of the el-Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi belonging to the Ilkhanid period, drawings of him can be seen. Since Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi have scientific-historical and historical content, respectively; various personalities of Imam Ali(AS) have been presented. The importance of this issue has necessitated the present research. The objectives of the research include recognizing the personality traits of Imam Ali(AS) in the Manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi and identifying the influential mentalities in choosing the subject of the drawings related to the Imam in two versions. The questions also include: 1- In the drawings of the manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi, which personality traits of Imam Ali(AS) have been discussed? 2- What is the mentality of choosing the subject of the paintings related to Imam Ali(AS) in the copies of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi? In the research, library, documentary and pictorial information have been studied in a descriptive-analytical manner with a comparative approach and the samples include 3 drawings of Âsârü' l-bâkiyye Birunî and 2 drawings of the Jami' al-tawarikh Rashidi have been selected in a purposeful and non-probabilistic manner.In the three pictures examined from the manuscript of the Âsârü' l-bâkiyye Birunî, much attention has been paid to the discussion of the succession of Imam Ali(AS) and his children and the continuation of the path of Imamate by him.Imam Ali(AS) is depicted in one picture with his whole family and in another picture with his children. Imam Ali(AS) had a dignified and calm face in all three paintings, but he has the sword of Zulfiqar with him, and considering that the only armed person with a sword in the paintings of manuscript of the Âsârü' l-bâkiyye Birunî is Imam Ali(AS), it shows paying special attention to the painter has the aspect of warlike personality, courage and most importantly the cultural personality and position of Imam Ali(AS). The Ghadir Khumm incident is the most important event in the Shiite discourse, which is one of the drawings of the Âsârü' l-bâkiyye Birunî. On the day of Ghadir, the Prophet of Islam equated Ali(AS) with his power, personality and dignity, and by the command of God, introduced him as his successor and leader of the Muslims. A cloud can be seen above the head of the Holy Prophet(PBUH), which is called Arhas. Around the heads of all the persons in this painting, a golden halo is seen and it is not a sign of holiness and Imam Ali attracts attention with his Zulfiqar sword. Another image is dedicated to the Mobahela event. This event is very important for the Shiites because the Prophet(PBUH) chose Hazrat Fatima(PBUH) and Ali(AS) from among his companions and elders to face the Christians of Najran, who according to the Shiite discourse, the Ahl-e-Beit of the Prophet(PBUH) are known and from the Shiites' point of view, the event of Mobahela expresses the superior and valuable position of the family of infallibility and purity. In this picture, the Prophet(PBUH), Imam Ali(AS), Hazrat Fatima(PBUH), Hassan(AS) and Hussein(AS) are seen. A piece of cloud can be seen above the head of the Prophet (PBUH) which refers to the same subject of Erhas and this cloud is drawn on the head of 5 people and in a way emphasizes the concept of Ahl-e- Beit and velayat. In this painting, too, the halo of sanctity is seen around all people and is not a sign of sanctity. Double-edged sword of Imam Ali(AS) is illustrated in this painting and the cultural aspect of Imam Ali(AS) and his caliphate and guardianship is emphasized. The encounter of the messengers of the false prophet with the Prophet Muhammad(PBUH) is also the third image of the manuscript of the Âsârü' l-bâkiyye Birunî and refers to a man in Yemen who is known as Musaylima Kazzab. In his letter to the Holy Prophet(PBUH), he claimed to be a prophet and considered himself a partner in the rule and rule of the Holy Prophet(PBUH). This picture shows the scene of the messengers of the false prophet facing the Holy Prophet(PBUH). In this work, the cloud above the head of the Prophet(PBUH) refers to Erhas like the previous two paintings, and Imam Ali(AS), Imam Hassan(AS) and Imam Hussein(AS) are depicted in the painting, and Imam Ali(AS) being in the center of the box shows the importance of his role. In this work, halos around the head, like other paintings, are not a sign of sanctity. The presence of Hassanein(AS) in the middle of the box and between Imam Ali(AS) and the Prophet shows the importance of the successor of the Prophet and the continuation of the path of Imamate. Also, the only armed person in the work is Imam Ali (AS) who accompanied dobble edged Zulfiqar is depicted by the painter. Also, in the manuscripts of the Jami' al-tawarikh Rashidi, there is no holy halo around the heads of people and it seems that the personality of the Prophet(PBUH) was more important than Imam Ali(AS) to the painter. In fact, the character of Imam Ali(AS) is not more prominent than other people depicted in the paintings and is only shown as a brave warrior and in the service of the Islamic Army, and Shiite orientation , directional look and Shiite history can not be deduced from it. the first picture which has been dedicated to the subject of sending Imam Ali(AS) and Hazrat Hamza to the mission of the Battle of Badr by the Prophet(PBUH) is one of the most important and influential wars in the history of Islam. This war was the first one between the Muslims and the infidels of Quraysh that took place in the second year after Hijra and is known as the Battle of Badr. Based on the text of the painting, the painter describes the moment when seems that the person sitting in the center of the image and pointing to the people present on the left side of the image is the Prophet (PBUH). The three men are talking to the Prophet (PBUH) and the older person in the center of the stage is apparently Obaid. On the right of the image, two people on horseback are probably Hamza and Imam Ali(AS). Imam Ali (AS), like the other people in the picture, has a spear in his hand and according to the narration of the book, he has volunteered for war. In this picture, the figures of the people and horses of the two people on the right are larger than the others, and thus they are distinguished from the rest of the Prophet's troops; but the painter did not emphasize the outstanding of the Prophet(PBUH) in this painting and the halo around the head of any person is not seen and in the portraits of the soldiers there is no prominent state. The second image also refers to the battle of Badr, and this image shows the battle between Ansar and Quraysh. The painter has shown the courage and bravery of these warriors by depicting Hamza, Ali(AS) and Obaida. The figure riding a horse in the middle of the painting is Imam Ali(AS) and is depicted with full military clothes and tools, killing the person in front of the image. Here, the sword of Imam Ali(AS) is more visible than other weapons of the warriors and shows the importance of the sword-wielding power of Imam Ali(AS). A noteworthy point in the painting is the lack of double-edged sword of Imam Ali(AS). But the Hazrat is splitting one of the enemies of Islam into two, and the state of the characters and the horses is illustrated in such a way that it seems that the defeated enemy is escaping from Imam Ali(AS) on horseback. Because the riders are not face to face and the enemy is sitting on the horse in the opposite position, which is a bit irrational.In general, the results show that in the manuscript of the Âsârü' l-bâkiyye, Imam Ali(AS), his successors, guardians, his children and the continuation of the path of Imamate, as well as the personality of Imam Ali(AS)'s family man have also been discussed and Imam Ali(AS) has not been distinguished from others in the manuscript of the Jami' al-Tavarikh Rashidi, and the painter has portrayed Imam Ali(AS) as one of the brave and capable warriors of the Islamic Army. Also, the painters of these manuscripts have paid special attention to Shiite themes in the Historical-scientific manuscript of Âsârü' l-bâkiyye. Therefore, the family of Imam Ali (AS) and the discussion of his successor and guardianship have been given more importance and the aspect of warfare and his cultural personality can also be seen in these paintings. It should be noted that according to the text of manuscript of Âsârü' l-bâkiyye Birunî, the painter has considered events such as Ghadir Khumm, Mubahila and the occurrence of the Prophet Muhammad(PBUH) and the messengers of the false prophet, While the painter in the historical manuscript of the Jami' al-Tawarikh, based on the historical text, has had a documentary view of events and has paid more attention to the fighting character of Imam Ali(AS) and there is no sign of highlighting his character in the paintings.