نشریه مطالعات بین رشته ای هنرهای تجسمی
پیاپی 2 (پاییز و زمستان 1401)

The thoughts and ideologies of ancient societies have been displayed in the form of art. Hence, with content analysis artifact can be understood by the concepts hidden in them. Lorestan is a mountainous region in the east of Mesopotamia, where in the 8th and 7th centuries B.C., the highest levels of metallurgy were achieved. The bronze artifacts of Lorestan in the second and first millennium BC contain mixed images of imaginary creatures, which, while beautiful, are formed on the basis of deep beliefs and express beliefs, stories and myths common in the region. Therefore, in order to accurately understand the role of motifs and understand its meaning and content, it is necessary to study the pictures and narratives that show the worldview of the studied societies based on symbology. One of the recurring mythological images in the art of the ancient societies of Lorestan and Mesopotamia is the role of the mythological cow-man. The aim of this research is to identify the visual relationship between the role of cow and man in the ancient art of Lorestan and Mesopotamia, in order to study and investigate the process of their development and the evolutionary process of religious ideas in the art of the studied societies, it is based on archaeological documents. The method of this research is descriptive and comparative and the method of library collection, and the images were prepared through the museum and the museums' website. The research questions are: 1- By examining the mythological motifs with an emphasis on the cow-man role in Lorestan pins, can they be considered a symbol of Divan or horned gods? 2- Investigating mythological motifs with an emphasis on the horn in the period from the second millennium to the first millennium BC. Do we see material and content changes in them? Since motifs in artifacts represent common beliefs and beliefs among the people of ancient times, it is necessary to accurately understand a work and understand its meaning and content. to be studied.The results show that the motif of the cow-man is a symbol of the primitive gods of ancient societies, which entered the art of the studied societies due to the beliefs and beliefs of animism and totemism, and over time, with the expansion of human thought and consciousness, we see a transformation in the way they are represented. Such that the images of the animal's head and body disappear gradually and the images of the gods are displayed in a realistic and human form, and the horn remains as a divine symbol and power in the headdress of the gods.

Iran, the altar is considered one of the most important parts of a religious building and it shows the skill of the artists who built it. In the history of architectural decorations of Islamic art, altars have always contained the best and most valuable examples, both in terms of construction methods and in terms of motifs and values ​​of calligraphy and calligraphy. Among the methods and techniques used in decorating altars, using gold tiles is one of the most difficult and at the same time the most beautiful methods. The masterpieces left from the altars of Zarinfam show the peak of the use of decorative techniques for the construction of altars.The Zarinfam altar of Imamzadeh Ali bin Jafar Qom is one of the most magnificent Zarinfam altars, and among the Zarinfam altars belonging to the Ilkhani era and existing in Iran, it is considered the largest among them, and due to the fact that it was not visible to the public for many years, little information is available about it. Maybe it is because so far this unique masterpiece of Iranian art has not been properly introduced and its visual and content quality has not been studied and reread. The purpose of this research is the thematic and visual analysis of the golden altar of Imamzadeh Ali bin Jafar Qom as one of the masterpieces of altar making and the largest golden altar of the Ilkhanid era in Iran.The results of the research provide important information about the status of the Zarinfam tile and glaze industry in the Ilkhanid era, the name of the manufacturer, the year of production, and the visual and thematic quality of the largest Zarinfam altar of the historical Ilkhanid period in Iran.Key words: Iranian art, Ilkhani era, golden Mihrab,, Imamzadeh Ali bin Jafar Qom.

Rostam is a mythology in Shahname Ferdosi. Rostam has fights and story seven Khan is famous between fights. He is visit with Oulad in the seven milestone ( haft khan) they are together campaign in Khan panjom and Finally they are promise that Oulad is show up dome white daemon. (dive sepid) Person Oulad is twofold in Literature and Art. Once in way he is dive and once in way he is a man.Oulad is a man into Shahname 953 H Pari. Shahnameh 953 H, Paris is good for having clear images of garments is more important that other copies and certainly . into Shahnameh ,Oulad has two cover . he has one jupon of metal in one image (Khan panjom) and he has dress that similar to mans cover in sgahname 953 H Paris. The question is ( Artist in shahname 953H Paris what essence’s Oulad did show from way designing dress? Target is representation viewpoint’s artist into essence’s Oulad and analysis faculty from way designing dress in safayid period. The article has nature is fundamental- application and from a position of the method is historical- analytic. The research is helper to studies Anthropology and Mythology. The results of the study artist have mindfulness to difficult essence’s Oulad in middle competitors for Rostam and artist is design dress difficult for Oulad up to he is not obit in fight with Rostam.

The city is a place where mobility, continuity and development are its hallmarks, and in which urban furniture is considered an identifying element; So that most big cities can be recognized by their appearance. In addition to the direct physical effects that it has on the appearance of a city, it can be considered as a factor for citizens' satisfaction, attracting tourists and creating economic-cultural activities as a factor of dynamism and mobility. The purpose of this study is to identify the processes through which works of art are installed in the city and play a vital role in creating a sense of satisfaction among citizens and the successful economic development of the city. The question is how an important factor such as the development of urban art can play a role in citizen satisfaction and the growth of the cultural-artistic economy? Thus, in this research, first the theoretical foundations of the research are described and then the impact of the mentioned factors in urban art is reviewed. The results show that the quality of urban art organization affects urban spaces, so knowledge of urban art increases the awareness of designers to the extent that the design method responds to the behavioral needs of users, which results in a sense of citizen satisfaction and growth of socio-cultural economy. This research is applied in nature, in the method of: descriptive-analytical and in the method of data collection: electronic libraries.

During the reign of Nasser al-Din Shah, due to the extensive ties between Iran and Europe, changes in Iranian culture took place. These changes also led to revisions and lifting of bans for the Iranian women's community enumerating them according to processes of implicit implications is a topic that will be addressed in this article. Implicit connotation is the attachment of a message to the original message of the photo which is produced in different stages of production such as choosing the subject, technical polishing and so on. Among the Nasseri’s photographers, Antoin Sevruguin photographed women in Iran’s society by mixing the view of western documentation with eastern approach to photography in order to show women Iranian culture with a photographic view. The aim of the following research is to produce and study the implicit connotations by separating the connotative components from the signified meaning in the works of Antoin Sevruguin play the role of women in social, cultural and historical context which lead to meaning production at the end. The proposed question in this research was how to study of cultural status women in these photographic works based on the suggested implicit connotations and meaning-production process and this question was answered after Reading the implication of Sevruguin 's works in the social and cultural context of the Nasseri era, It was found that women in this period have overcome a significant number of previous limitations and have found the possibility of presence in places, coverages and conditions which is due to the penetration of Western culture in Iranian culture.

The link between literature and art in Iran has been an unbreakable link for a long time. Persian literature with its epic, mystical, romantic, and religious themes has always been an inspiration for Iranian painters and a source of works for many illustrators and painters. In the meantime, the poems of Rumi as the leader of mystics in Iran, although they have a special place in classical literature, they have not been illustrated until now. For this reason, at the beginning of the last decade, the Academy of Arts started editing this valuable work for the first time and displayed the artist's encounter with Rumi's poems to present the sonnets of this outstanding poet in a new way and through the lens of Another should be checked. Based on this, the purpose of the present study, which relies on Gerard Genet's theory of, Transtextuality, examines the relationships of a text with previous texts in the form of Hypertextuality, intertextuality, Sermetextuality, paratextuality, and metatextuality, explaining the relationship There is a parallelism between Shams' sonnets and the works of painters in Shams Farhangistan book. Therefore, the main question is: What is the reflection of verbal texts in the visual works of Shams Farhangistan's book based on Genet's theory of Transtextuality? The results of the research show that the visual text has come out of the verbal text, and the first text can sometimes be seen explicitly in the second text, and sometimes it can be seen metaphorically and implicitly, or in the form of allegory, substitution, and hypertext. It is identification. One of the main commonalities of the two texts, in which the type of relationship is explicit, is the connection of the second stanza with the image of a bird surrounded by flowers and the eight-pointed star in Mr. Eskandari's work; Placement of part of the first text (poetry) in the second text (painting) by Mr. Jabari's calligraphy; And the connection of the fifth stanza with the three birds drawn in the work of Mr. Esadi, which shows being enclosed in a cage between the parallel lines at the top and bottom of the frame; Cited. Sometimes, the type of relationship between two texts is established in the form of an implicit type, such that in Eskandari's work, the use of elements with the same color spectrum on a blue background, which is caused by the placement of a star The eight feathers on it are a sign of the sky, reminding the second verse, also the metal objects used in the lower part of the image are influenced by the fourth verse. In some cases, the artist-painter has also established the semi-textuality by establishing a longitudinal relationship with his category and genre. In addition, the research method in this study is descriptive-analytical and its data was collected by searching library sources, observing works, and interviewing.

Photography is an art that after its invention, important developments took place in the field of different arts including painting, architecture and literature. Photography, by showing the details of the environment around people as accurately as possible, and documenting and recording moments and events, served well in art works, including literature. The facilities available in photography that were reflected in the lives of the people of the society, this issue was quickly noticed by prominent writers in the field of literature all over the world, and thus photos were involved in the course of important literary stories and They set a new platform for paying attention to the situation and characters of literary works. With the continuation of the presence of photographs and the photographic method in the field of literary texts and a fusion between these two artistic fields, works were created with a novel view of the various concepts in human life in this field and This issue made the audience closer to these two fields. In this research, we tried to pay attention to the description and analysis of the presence of photography in the field of literature, and from this point of view, analyze the work "In Search of Lost Time" by Marcel Proust. We tried to examine the photographic method that this author chose to express his story based on the opinions of literary and artistic thinkers such as Roland Barthes and Georges Poulet.. How the presence of photographs and photography features in this author's narrative has played a role in characterizing and overcoming the time course of the story and the way the scenes are presented and the expression of important concepts in the process of the story and how this French writer has used the features of this 19th century invention that originated from his country to represent what he has in mind.

The Sabean Mandaeans are an ethnic minority living in the southern and southwestern regions of Iran that are as old as the glorious civilizations of Mesopotamia and southwestern Iran. These people, who consider themselves Iranians, have a special religion and resemblance to the similarities of the great Iranian religions of the earth, including Zoroastrianism and Islam, which are known for their flexibility. But for various reasons, they have a hidden and unknown culture and religion.But for various reasons, they have a hidden and unknown culture and religion. This research, following the pattern of transmission and association of cultural values and religious beliefs in the language and artistic expression of a nation, by referring to the design and role of "Sobbi enamel" and reading it, tries to introduce this unique art-industry; Open a window to understand the culture and beliefs of this minority.The findings of this study showed that the traditional patterns of design and role in "Mandaean enamel" or "Sobbi gold" can be divided into two groups of ethnic patterns and non-ethnic patterns. Non-ethnic patterns and free patterns in this art can be attributed to the spirit of tolerance of the believers of this religion, despite the strong prejudice and commitment to religious rituals and beliefs [there are several reasons for this behavior that the text of the article pays special attention to showing] People attributed. The results showed that the main belief of the Mandaeans is based on monotheism and worship of the one God. A penchant for symbols reminiscent of the evolution of Mesopotamian civilizations, which is a construction of ethnic memory, an interest in naturalistic narrative as well as a desire for symbolic language and expression; The taste of nostalgic attitudes to the history of this people and a reference to the symbols of ancient Iran and the display of religious symbols on the special jewelry of this people, which is decorated with Sobbi enamel, are important features obtained by reading the meanings of the design and patterns in blue enamel. In other words, the language and artistic expression of the Sabeans are Mandaeans of Iran.Experiencing this kind of analysis and reading of hidden religious beliefs by understanding the semantic implications hidden in language and artistic expression can be an attractive way for those researchers who try to understand the quantity and quality of cultures and hidden and mysterious roots in different ways. This study can attract the attention of researchers who are interested in identifying unknown arts and crafts and sometimes belong to isolated minorities around and around Iran and force them to consider the excellent facilities available to researchers these days. Virtual media, professional photography cameras, video and audio recording equipment, etc, to revisit the much unopened areas of unknown art-industries of this great civilization. In this regard, it is suggested to study the specific textures and unique textures of Mandaean, which are common only among these.. and to study their technical values, role and design, and compare them with similar examples.

The visual creation of Shiite narratives in line with its universal understanding is one of the topics that became increasingly popular during the Qājār period due to the collective will. Undoubtedly, one of the main reasons for this trend was the arrival of the lithography industry and the possibility of placing illustrations in parts of the text. Based on the surviving works, Ashura narratives are considered one of the most popular content types of illustrations in lithographic books. In the meantime, Mirzā ‘Ali-Qoli Kho’i (activity period: 1263-1272 AH) as the first known artist in this field, was often responsible for illustrating the first illustrated works in this field. The purpose of the present research, relying on the descriptive-analytical method, is to answer the question that among the Ashurā visual narratives of Asrār al-Shahāde by Borujerdi, which was published for the first time in 1268 A.H., the story of Deir and the Rāheb is to what extent influenced by the content roots of creation (early pre-text: narratives historical and hadith, the middle pre-text: Rawzat al-Shuhadā, the contemporary pre-text: Asrār al-Shahādeh) and in the meantime, how did Kho’i reflect on it? The findings indicate that Borujerdi’s seventh Majlis of Asrār al-Shahādeh entitled “In the Story of Deer and Rāheb” comprises four parts: (1. The arrival of the accursed Shimr at Deir and Deirani’s investigation of the condition of the heads of that group, 2. The Rāheb coming out of his house and seeing the prophets, 3. The arrival of the Amir al-Mu’minin and the conversation of the blessed head of the Seyyedo al-Shohadā with his mother, 4. Talking to the old Rāheb with the blessed head of Hazrate Seyyedo al-Shohadā and accepting Islam). According to the poetic narrative of the events and Kho’i has created 3 images related to the 1st and 3rd sections. In the meantime, the image of part 1 largely corresponds to the early pre-text and the images of part 3 correspond to the middle and mostly contemporary pre-text, so that this flow can be considered as the result of the popular beliefs and readings of the mass of the society, which has been accompanied by distortion.

Lustre glaze was a novel invention by the artists of the Islamic era, which was used for gold and silver metals. In the course of its development, this pottery went through three periods, among which the beginning period and the middle period for change are of special importance. The country of Iraq was one of the most important production centers of lustre ware at the beginning of Islam, and by exporting this type of pottery, it played an important role in spreading this type of technique. The fall of the Abbasids and the migration of artists to other Islamic lands has caused the amalgamation of the Abbasid and native styles. Neishabur, as one of the centers of lustre ware production in the early period, despite being influenced by the Abbasid style, has also had differences in the style of drawing motifs. This research intends to analyze 16 examples of the typical vessels of lustre ware Iraq and Neishabur, to categorize the patterns, themes and stylistic differences of these two centers and to answer these questions: the motifs used in the lustre ware of Iraq and What themes does Neishabur include? The information and data of the study in this research have been collected using library sources and then analyzed by descriptive-analytical method. The results of the research indicate this Scenes such as playing an instrument, the use of eye and dotted motifs in the background, teardrop and circular motifs on the back of the dish, the use of birds, especially pigeons, which are conjugated or accompanied by a leaf on the beak, are among the things that are used in a comparative manner in the pottery of the two centers. but despite these common motifs, differences such as the style of drawing human motifs, including curly hair, big eyes, have distinguished them from Iraqi lustreware vessels. In addition to this, the animal motifs of lustreware Iraq and Neishabur are completely influenced by the ecology of these regions, for example, we can mention the pattern of camels and fish-eating chickens, which in Neishabur examples include other motifs such as cows, pigeons and lions as Iranian symbols. which has been used since before Islam. The widespread use of inscriptions is one of the factors that shows the obvious difference between the lustre ware of Iraq and Neishabur. The inscriptions of Neyshabur vessels, which are often seen on the edge, include hadiths and Quranic verses, which are also used frequently in the lustre ware of this region, and it indicates the local style of this period, while Iraqi gold often has court concepts and inscriptions are rarely used. And it is usually used on the bottom of dishes. Therefore, the special features that can be seen in each of the golden dishes of Iraq and Neishabour are indicative of a special and local style that, in addition to influencing each other, has also made them different from each other.

Due to the social nature of human existence, social identity and cultural factors are one of the influential components in his life. Art can show the identity of a nation when deep cultural ties and familiarity with the roots of society are formed. Considering the importance of using national identity in the titling of Iranian films, the leading research aims to know the visual elements and visual and written semiotics related to the Iranian thought in the titling of one of the prominent films and by using Peirce's theory of semiotics and the research method. Descriptive - Analytical, to emphasize this issue. The subject of study is the title of the movie "Jaafar Khan is back from Farang" produced in 1987 AD, which is important due to the presence of images and symbols related to Iranian graphics. In the visual analysis section, the title is divided into 34 plans and the color composition of each view is specified. After that, the meaning and concepts of the symbols are presented in the table and the images that had the appearance of Iranian motifs, tools and customs are displayed. The results of this research are as follows: in the images and compositions, it is not enough only with Iranian motifs; Rather, it has displayed Iranian thought. Many signs convey messages by implicit expression, indirectly and sometimes with hints. Just like old Iranian artists who always indirectly conveyed the message to their audience. Colors also have conceptual and symbolic expression. The variety of technique and illustration and the use of moving graphics of this title was innovative in its time.

There are two common views on the relationship between art and society in general; Romanticism believes in the lack of connection between art and society, and sociology believes in the influence of art and society on each other. Religion is a social phenomenon. In the era of the rise of religions, art was considered a kind of industry and was a follower of religions or social-political currents of the society.Religious art is considered a transcendental and sacred phenomenon and Islamic art joined with Islamic culture and society and was created under the influence of Islam. Arabs did not pay much attention to art in the early days of Islam. One of the tribes that had a great impact on the development of Islamic art and culture were the Iranians, who already had rich art and culture, and with the arrival of Islam, they transferred this treasure to Islamic civilization and contributed to the development of Islamic art and culture.they transferred this treasure to Islamic civilization and contributed to the development of Islamic art and culture. The current library research has been investigated with sociological analysis based on Max Scheler's theories on the influence of Iranian art and artists on Islamic civilization. Although art is an independent thing, society has an influence on it. Also, Also, art is effective on society either. A work of art can have a great impact on people when it is cherished by a large number of people. Scheler states that at the time of the emergence of a new culture, the resistance to new ideas is at the lowest level. In this situation, the elites and leaders and people who are role models can support the emergence and prosperity of a new idea. Islamic art emerged in this context with the aim of following the instructions of Islam and getting closer to God; As a result, we cannot deny the mutual influence of Islamic art and Islamic civilization on each other, because even though the form of Islamic art was caused by its contemporary conditions, the idea of its content depends on the minds of artists. Also, these two things, along with the talent of the artist, make the work stronger. As a result, a magnificent work created by an artist with a pure idea and artistic talent, especially during the emergence of a new culture, can direct the audience's thoughts in the direction intended by the artist. However, the intellectual background of the audience has a great effect on his perception while reading, and contemporary conditions are effective in the realization of art. Arab Muslims, who did not pay attention to art at first, were influenced by the culture and art of the countries they conquered, including Iran, after expanding their territory. On the other hand, by accepting Islam and writing Islamic works, the Iranians had a significant impact on the expansion and growth of this civilization, which has been analyzed in this research.