نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و هفتم شماره 4 (پیاپی 92، زمستان 1401)

art flourished as an essential part of modern art and significantly impacted artists' works in various fields, leading to the emergence of multiple pieces. Although these works differ in appearance in different media, the aesthetic features of abstract art can be seen in all of them. But at first, the relationship between photography and abstraction was paradoxical. Because the photograph, as a representation of the real world, always had a reference to material value. With the advent of modernism in photography, abstraction especially entered art. Abstraction in photography manifested itself in abstract forms, and in the first decades of photographic modernism flourished. This research will focus on the Empty Space in these images to analyze abstract photography. The studied perspective is a psychoanalytic analysis of the subject to achieve this. In this research, the psychological aspects of abstract images are addressed, and in this context, the relationship between abstract photography and the world within the artist will be determined. To explain this relationship, many concepts such as Empty space and potential space, abstraction in photography, and especially space in the image need to be explained. Next, the research will use the psychoanalytic concept of potential space to move to the psychoanalytic study of abstract photography to provide a model for reading abstract images. Finally, the research uses the connection between abstraction, psychoanalysis, and photography to seek the concept of Empty space in abstract photography with a psychoanalytic reading. The work of the contemporary German photographer Uta Barth will be examined as a research sample. Uta Barth's focus and study are on translating photographic perception into human perception. Barth often chooses specific and unknown subjects for photography that bear little resemblance to the real world; Such as the deformation of white curtains in the rays of sunlight or a negative image of things. These themes are abstract and distorted in his works. Accordingly, selecting this photographer as a research case will help study the concept of Empty space in abstract photography from a psychoanalytic perspective. The present research is descriptive-analytical, and the method of collecting information is the library method, and in the analysis, a qualitative approach is used. Also, to achieve theoretical foundations based on psychological theories, a psychoanalytic reading system of the image is explained. Then, the theoretical framework is mounted on a research case, and the works of Uta Barth are analyzed as an example. This study shows that the space in Uta Barth's works is the same urban and interior landscapes that have a psychological effect on him; therefore, he encounters them. In them, he expresses his subconscious fantasies and desires by internalizing them; he enters them in the form of visualization. And strives to achieve integration with them. It can be said that Bart's work, like that of Winnicott, is an actual play. It starts with his performance with the space around him, the real world, and turns into a game between the iconic aspects and the photographic index.

Throughout history, mankind has always strived to achieve the meaning of existence and eternal life.The notion that life is devoid of meaning and death is the end of everything,makes the universe no longer look so beautiful and valuable to man.The difficulties of life and the fear of death are among the factors that caused a sense of frustration and the spread of absurdist ideas in today's world.In contrast, some thinkers,by emphasizing the meaning of life and its immortality, are trying to find a tangible solution to human existential pain and give meaning to his existence.In this regard, in the following article, Wittgenstein's earlier theories and his worldview were considered from the perspective of immortality.Looking at the deep existential concerns and examining the dynamics of his thoughts, the role of "aesthetics"and"ethics"as the most fundamental components of the meaning of human life in his philosophical structure is undeniable.As in most of his phrases,we can see the traces of these two factors with the focus on the"eternal view of Metaphysical Subject",in establishing a meaningful and purposeful life.Based on this view,art is considered as the highest way to show the true values of life and a solution to overcome its problems and difficulties.Life that in Wittgenstein's view finds eternal extension.In Wittgenstein's view, the perfection of life is the attainment of happiness, and art provides the conditions for achieving this goal.Art is fundamentally and deeply an integral part of the concept of eternal life.So that a person who has an understanding of art will have a deeper image of life and death.Because in the eternal look;Death is no longer an event in life.Life has no end, just as the field of vision of a subject has no boundaries. When the subject stops.The world is coming to an end. At the time of death, the world does not change, but being stops, and death will be the subject of the end of the whole world. Man attains immortality from the path of his merit to excel and transcend the world. And this is what art can do.Imagination When we artistically look at what is in the world, we elevate it and elevate ourselves, and we look at the truth of the world above the world and from an eternal perspective. In this view, art finds an enlightening function to awaken man, which, by showing the correct way of observing the manifestations of the world from an eternal perspective,separates the individual from superficiality,vanity and emptiness,and turns the world into a wonderful truth as a work of art. It invites a person to growth, excellence and hope at every moment.This distinguishes the world of the artist man from the world of the non-artist man. Man realizes by living that death does not kill him.Rather, it is he who kills death; And this is the transcendence of immortality.By living beautifully and having the right attitude towards existence, we will become a harmonious and accompanying element of the world, and art is a phenomenon that can restore the lost beauty and meaning of life to us.

Marx meant of the masses, the industrial workers ofconsciousness who were able to change living conditions andcontrol the production cycle. He did not blame the machineindustry for the class gap, and argued that the dominance ofthe ruling class over technology had changed its nature in itsfavor. The difficult work, low wages and living problems ofthe workers, as the most important drivers of the industrial,production and economic cycle, have historically fueledlabor strikes and protests. Class conflict and social injusticeresulting from capitalist domination led to struggles andstrikes of the working class, and these protests in 1864with the establishment of the first international workers'organization and finally in 1871 with the formation of thefirst workers' commune government. Meanwhile, the eventsof the last three decades of the nineteenth century turned artand literature into a platform for reflecting the social andpolitical conditions of the time. The works of art createdin this historical period narrate the critique and display ofdaily life, the problem of labor and injustice of the capitalistsociety, the life of working women and children, and thedescription of the demands and struggles of the workingsociety, their encouragement to reach a world withoutExploitation. The question that arises here is what is the roleof Marx's philosophical views in the creation and productionof works of art related to the working class? According tothe research, the structure of art in the last three decades ofthe nineteenth century was the beginning of the impact ofart on Marx's practical philosophy in the field of machine,technology, social relations and the description of societyin the machine in the field of labor and capital. Accordingto Marx, advanced machine tools did not cause a change insocial hierarchy and class distance, but rather the dominationof the ruling class over technology, which changed its naturein its favor. The approach of social art at this time was theworking class's awareness of its situation, the departure fromperpetual passivity, the challenge of the dominant discourseand critique of capitalist society, and at the same time inthe late nineteenth and early twentieth centuries the praiseof mechanism as a tool in It was to facilitate the life of theworkers and not as a tool in the monopoly of capitalism. Toexplain the hypothesis, Maximilian Luce's paintings havebeen read using Norman Fairclough's theory of criticaldiscourse. According to the result, a critical reading ofLoos's paintings of workers working with machines sendsa message that reflects Marx's remarks about the effects ofmachines on modern industry, and his paintings criticize theexhausting industrial work of workers and at the same time,he admires the machine and new technology in advancinghuman goals. This research is considered as a basictheoretical research and based on its nature and method,it is descriptive-analytical and the method of collectinginformation is library.

In this study, the paintings of Hakop Honatanian, the unknown painter of Naser-e-Din Shah monarchy are investigated from the structural and thematic characteristics point of view. Contrary of the belief of the majority of art researchers, after the death of Sani-ol-Molk, the one who was appointed as the painter of Naseri monarchy was not Kamal-Al-Molk, but he was Hakop Honatanian, the Armanian painter, after his emigration to Iran. Following the political conflicts of the nineteenth century, Armenia, the Caucasus, and Georgia became parts of Russia. Because of the political evolutions, artists and prominent people especially Armenians concentrated in the city of Tbilisi, thus an improvement was made in the cultural, social and economic levels by the intellectuals at that era. Besides, by gathering of merchants and their trips to European countries, art of European painting entered this area, therefore artists acquainted with the European culture and started to use these new principles. In the sixth decade of the nineteenth century, the artists of the city established union and guild of the Tbilisi Painters which led to the creation of a new art school, so an appropriate space provided to teach and learn art. Concerning these conditions, the new Armenian art was flourished by the first modern artists. Most of these artists painted only face, and the most famous one was Hakop Hovnatanyian. Hakop Hovnatanyian received painting training from his father.  While he was preserving the painting method of his family, he tried to make innovation and creativity in his work, including his art monopoly of drawing a single face and creating a change in this style. Due to the recession and the arrival of the photography profession in the Caucasus, drawing portraits and other figures was no longer affordable and painting was stagnant. The recession and Hakop’s interest in eastern art and artists, especially Iranian art, led to his immigration to Iran in 1239 AD /1865BC and in the end of his life. Considering Nasser Al-Din Shah Qajar's interest in art, Hakop left for Tehran. Because of his genius and talent, he entered the Nasseri court. Hakop Hovnatanian painted a portrait of Nasser Al-Din Shah Qajar that coincided with the death of the painter of Nasseri court, Sani Al-Mulk Ghaffari Kashani. In this research, besides the introducing Hakop Honatanin and his paintings and also try to find the appropriate responses for the research hypothesis based on existence and nonexistence of the new elements in his paintings, it is attempted to evaluate the effects of these new elements on the painting of Nasseri era. Structurally, the new elements observed in the painting of the king in nature and using a weapon to show the power and thematically, after Hakop emigration, these elements expanded in the form of royal, courtly and religious subjects in his paintings. These evidences probably indicates that although Hakob Honatanian was a non-Iranian painter, he had created new visual elements in his works to present his creators by intellectual independence and pay attention to the culture of Nasseri era.

Persian painting, in all historical periods, has been institutionally affiliated with the royal palaces and courts in which pleasure, amusement, and sexual desires were highly regarded leading the painters to sometimes reflect them in their works. A psychoanalytic reading over the past centuries, especially in its socio-historical context, has been rarely considered by researchers; therefore, this kind of research is necessitated significantly. Yusuf and Zulaikha painting by Behzad in 1488A.D is one of the acme points of the history of Persian painting and that is why it has been highly taken into consideration by researchers. Here, a question might be raised and that is: why? Does the importance of this painting depend on the form and technical features? Or is it related to the transcendental attitude towards Yusuf as a prophet in the story itself? Apart from chronological and descriptive research regarding this painting and Behzad`s life and techniques as a painter, most of the previous analytical research mainly considered this painting through mystical and religious studies and analyzed it accordingly, since it is a highly important story in the Torah and Quran. However, if, regardless of these metaphysical considerations, one sees this scene as a fantasy in the subconscious or unconscious and emphasizes materialistic, mundane, and sexual features, what would the result be? Moreover, what do the results cause in Persian painting in further periods? To achieve this goal, a different theoretical foundation is necessitated. Psychoanalytical theories, as the approach of this research, provide an appropriate point of view for analyzing this painting and it also helps the readers understand the scene differently. The conceptual framework of this paper is based on Freud`s and especially Lacan`s psychological ideas. Authors try to do a descriptive and then a synthetic analysis to find more about the subject critically. The visual culture of a society regarding paintings, as historical and cultural texts, is an appropriate ground for scrutinizing sexual terms and relations; provided that, we consider visuality as an equivalent for discourse, not only regarding the text and speech but deeming visual cases as well. Results suggest that this painting, due to the visual features and structure as well as special characteristics of the history of visual culture concerning the representation of sexuality, provides a specific image or a fantasy for the desire and anxiety of the subject dialectically (viewer, individual, or collective) based on the imaginary and symbolic order, as Lacan suggested, according to all psychological process behind that. Having all the visual effects in a historical path, the scene is a turning point to form a sexual visuality dominated in further periods in the history of Persian painting, especially in the mid-Safavid era. The final purpose of this essay is to propose a new idea and provide a different position for relevant subjects such as sexuality, representation, and sexual identity in historical Persian paintings. From this point of view, other Persian paintings of later periods can be psychoanalytically studied in their social, cultural, and historical contexts regarding sex and sexuality.

Isfahan school is one of the leading schools of manuscript illustrations in the Safavid era. These manuscript illustrations reflect many narratives, including literary, mystical, historical, political, and so on. Metalepsis, as a special type of narrative, causes transgression between levels of narrative. This feature can be explored in many works of art, including manuscript illustrations. Around the world, especially in Europe, narratologists are trying to study the historical developments of metalepsis to better understand it by identifying how it appeared and examining its changes over time, thus providing more complete models. Although the properties of metalepsis have been considered in the postmodern situation, extensive research on it in the ancient cultures of the world shows that the use of this method in literature and art has a long history. Some of the manuscript illustrations of the Isfahan school, by drawing narrative levels, show obvious transgressions of the created boundaries. In these manuscript illustrations, narrative levels are demarcated and fictional worlds are intertwined while being separated through frames. Analysis of metalepsis in Iranian manuscript illustrations that have a long history can further confirm this claim. No research has been observed in this field so far and the present research has been done with the understanding of the importance and necessity of filling the existing scientific gap in this field. This article seeks to discover the characteristics of metalepsis in the Safavid period manuscript illustrations with a fundamental purpose. The method of this research is qualitative with a descriptive-analytical approach and based on collecting information from library sources and visual archives. It is worth mentioning that unrest, encouragement, and deviation from specific frameworks in Reza Abbasi's manuscript illustrations break the defined boundaries of a narrative world. In some of his manuscript illustrations, Reza Abbasi mixes narrative levels and violates the certainty of borders. Therefore, three illustrations by Reza Abbasi with the names "Rustam kills the elephant", "Tahmuras defeats the demon army" and "Golgasht (Picnic with a nobleman)" have been selected based on the purposeful selection of the desired items and based on the presented theoretical framework. The result shows that the selected manuscript illustrations from the Isfahan school create three levels of narrative by using the mise en abyme technique and have rhetorical and ontological metalepsis in different movements. In the first manuscript illustration, "Rustam kills the elephant" and in the second manuscript illustration, "Tahmuras defeats the demon army", the presence of verses in the inner frame creates rhetorical metalepsis. On the other hand, because the texts from the world of the painter have been applied to the world of fiction, so they can be considered as descending rhetorical metalepsis. In all three illustrations, elements such as two women in the illustration of Golgasht, tree branches, clouds, etc. have penetrated from the inner frame (lower level) to the outer frame (higher level), which creates ascending ontological metalepsis. In the first and second manuscript illustrations, the shift from another fictional world to the inner frame fictional world forms a horizontal (intertextual) ontological metalepsis.

The painting of Haftavad and Karam, as a work by Reza Heravi, is a manifestation of Indian art in the context of Iranian art. This work is taken from the painting of Dost Mohammad, a prominent Safavid painter, and is kept in Jahangir's album. The issue is the reason for the re-creation and adaptation of Dost Mohammad's work by a person named Reza Heravi in the Indian court. This research tries to answer two questions: In this process of derivation, what sign systems have been changed or removed that have led to a change of meaning? And what are the differences between these two paintings? The purpose is to achieve and identify the type of changes in Reza Heravi's text. So far, no research has been done on Reza Heravi's adaptations. This research is descriptive-analytical and comparative and examines the two drawings considered by two artists by Gerard Gennet's transtexualite method. Based on the results obtained and using symbolic systems, in the paintings of Reza Heravi, Jahangir and Ardeshir, the Sassanid king is also in opposition. However, due to Dost Mohammad, Haftavad and Ardeshir are facing each other Therefore, in this transtexuality due to the change and change of sign systems in Reza Heravi's painting, the meaning has been completely replaced by the dominant type of transformation. Adaptation and derivation in an intercultural-linguistic and transnational study takes place following the connection between cultures and between two different societies. In these intercultural derivation, the differences and similarities between the two works of Indian and Iranian society were studiedThis article, after examining three stages of the body of studies, found that the hypertextuality by Reza Heravi with the dominant type of permutation is related to the work of Dost Mohammad. This transtexualite, by changing some of the sign systems in the adapted work, has created a huge transformation in the second hypertextuality. Most of these changes are related to the replacement of important fictional and pictorial characters in the plurals of Dost Mohammad and Reza Heravi, because after the exchange of the statues of Ardeshir and Haftavad with Jahangir and Ardeshir, the meaning has changed in general due to adaptation. The new meaning is that Ardashir is condemning the Seventy in the first painting, but as a result of the adaptation, Ardashir is reproaching the universal. It can be said; This change of meaning is due to Heravi's adaptation of the signs mentioned earlier; It is purposeful, and the painter humorously condemns the universal forms of extremism in wine and opium, and chooses as a counselor who was once the powerful ruler of Iran in the Sassanid era Therefore, it can be concluded that the political approach also dominates this work and the image, despite its appearance, is king (Jahangir) centered and is a kind of propaganda discourse in the work. As a result, Reza Heravi's adaptation, both in terms of changes and in terms of the structural view of transcripts, has led to a quantitative and qualitative change in her prefaces.

Nasta'liq script developed and grew with certain characteristics during its six hundred years of history, after its formation and emergence by the efforts of calligraphers of each period. As some of the leading calligraphers, with new initiatives and creativity, promoted the beauty and evolution of Nasta'liq script. Among them, we can mention the works of Mir Emad Hassani Qazvini and Mirza Gholamreza Isfahani. Mir Emad Hassani Qazvini (961 AH) is one of the most famous calligraphers in the history of Iranian art in the Safavid era. He was able to strengthen the foundation of the Nasta'liq script so that all scholars of Islamic calligraphy would call it the bride of calligraphy. Mir Emad had an unattainable position and unparalleled skill in composition, the way the letters and words of calligraphy were placed in the line, the crucifixion and the choice of the correct angle of engraving. Mirza Gholamreza Esfahani (1246 AH) Calligrapher of the Qajar period is also a comprehensive figure with a special style in the history of Iranian calligraphy, which is one of the rare calligraphers of the Qajar period. Mirza Gholamreza has mastered writing in all common forms and forms of calligraphy and has created new methods, especially in the form of black and white. In examining the works of Mir Emad Hassani Qazvini and Mirza Gholamreza Esfahani, we encounter obvious differences in the performance of piece writing; The purpose of this study is to know the calligraphy style of Mir Emad Qazvini and Mirza Gholamreza Isfahani and to study two calligraphic pieces from Surah Al-Fatiha al-Kitab by these two artists in accordance with the aesthetic components of good shape and good position. The research questions are: 1- What are the aesthetic components of Mir Emad Qazvini and Mirza Gholamreza Isfahani calligraphy? 2- What are the commonalities and differences and the advantages of good formation and good condition due to the praise of Mir Emad and Mirza Gholamreza in comparison with the aesthetic components mentioned?To answer the questions, first the contents 1, then the words and finally, the composition and the style of the 2 chairs, the two works have been studied and aesthetically analyzed.Similarly, while presenting a short introduction of the two artists and examining the way they created their works, a comparison has been made between similar calligraphic pieces of the two. In this way, the aesthetic features, individual methods, creation process, aesthetic components of good shape and good position in Mir Emad Hassani Qazvini and Mirza Gholamreza Isfahani's Al-Fatiha  (Surah Hamad) have been studied. In a similar way, differences and commonalities in two works of these artists have been analyzed according  to the aesthetic components of good shape and good position. This research is a basic research with descriptive-analytical method and comparative approach. Data collection is in a library manner and by observing the works and the findings are analyzed qualitatively. The results of the research confirm that the difference in the writing style of the two artists is due to the difference in the angle of writing, composition and arrangement of letters.

Iranian painting has deep roots with religious beliefs, has been greatly influenced by mysticism and is reflected in painting.Iranian painting has a beauty in which it has a special spiritual purity and elegance. In the Islamic period, due to the proximity of artists to mystics, a great change took place in the formation of the content of works of art. In the formation and development of Islamic arts with mystical themes, Iranian mystics and Sufi and Shiite sects played a major role. From the Timurid period , manuscripts were not just expressions of text; The artists have cleverly made references to some social and political issues in their works,to the best of their ability. Since Iranian art has deep roots with religious beliefs, it has been greatly influenced by mysticism and has been reflected in painting and can be seen in the works of two famous artists. The role of Sufis and their actions is one of the commonalities of the paintings of two artists, Behzad (painter of Herat school) and Sultan Mohammad (painter of Safavid school).These paintings are saturated with mystery.In the study of paintings,considering the foundation of Behzad's realism, and loyalty of Sultan Mohammad to this subject,the paintings are studied comparatively from the perspective of this world following the rituals and ceremonies that show Sufi deeds.  The similarity of these two images of artists in drawing Sufis reinforces the suspicion that Sultan Mohammad considered the image of Behzad's dervishes and drew a different image with his own point of view. The painters were faithful to Sufi customs in order to narrate the image of the Sufis, and in depicting postures and gestures, they painted them in dervishes' clothes with long sleeves. Sultan Mohammad has been faithful to Behzad's painting of Sufis, but due to the fusion of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism, the hidden comedy of Sultan Muhammad in opposition to Sufism has been formed. The purpose of this study is a comparative comparison of the works of these two artists with a view to Sufism in Iranian painting.The question of this research is what visual changes are seen in Sufi painting with a short time interval? And what are the visual similarities and differences between these two paintings? The research method in this research is historical-comparative and uses library sources to compare the two images of Dervishes and their meaning.The results of this study show that Sultan Mohammad was faithful to Behzad's painting in depicting Sufis, but due to the integration of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism, a humorous aspect has been added to the work.The results of this study show that Sultan Mohammad was faithful to Behzad's painting in depicting Sufis, but due to the integration of Sufism and politics in the Safavid era and the distance of Sufis from the world of mysticism,a humorous aspect has been added to the work.

Style is a word used in the Late 19th Century to distinguish between different artistic methods. But despite the concepts of its nature, by entering other fields, it was able to develop its application and accept other roles as well. Style is an important concept in the field of industrial design and automotive design, which is mostly used in describing the appearance of the product. From an industrial design perspective, products are a combination of functions and forms. Most of the time, these items are comparable to the buyer's point of view, the technical functions look the same and the biggest difference is felt in their appearances. Therefore, the importance of style lies in the fact that it is the most important and the first factor when customers encounter the product. Influential factor, which targets customers' emotions and plays a direct role in determining the final purchase decision. In fact, style is a trump card in the brand's competition. They also see it as a good opportunity to convey their values and culture, through which they engage it in their conversation and interaction with customers. So, to achieve such goals, there must be a correct understanding of the concepts and issues about style, so that brands and designers can properly create product’s style for their customers. In fact, style reveals the shape of a thought in the appearance of the product. In order to implement this thought in the product, how to create a product style should be considered. Therefore, the form or physical appearance of the product has the potential to attract more customers than the technical performance of the product. It also increases the chances of customers to test and evaluate the product, and can cover even the poorer technical performance of the product with its attractive style or make its good technical performance more apparent. In this article, the concepts of style have been explored and developed. Due to the importance of style in car design, the findings and results in this area have been expanded and the elements of car style were identified, and a combined process have been proposed. Based on the proposed results and process, various tools and techniques were used in the case study. This practical design is based on functional, stylistic, and aesthetic criteria such as: Being aggressive and sporty, being creative and trendy. It was carried out as a project in Iran Khodro Company for the target group of young men and women and was verified by Iran Khodro experts and some professors of the University of Tehran in the field of industrial design. Finally, the design of Runna Facelift project for Iran Khodro was proposed. In This article, give you a better and clear overview of style design. Also, since a brand uses its identity to present its products to its audience in addition to style, and due to the relation between identity and style, it is suggested that concepts in these areas, can be considered as future research subjects.

After the collapse of the Sassanid dynasty, their textiles' designs were still accepted and repeated among other regions. Sometimes, it isn't easy to distinguish the samples of each part. However, there are still some aspects in each place's designs that are helpful to determine the motifs of each region from the Sassanid.
This study's issue is to observe the significant similarities in the Byzantine and Egyptian textiles' patterns whit the Sassanid samples. It is noteworthy that in this period - from about the seventh to the tenth century AD - the Sassanid dynasty has disappeared. However, their pictorial designs were still on other lands' textiles, including the present study areas.
 The purpose is to study the intertextual relations and structural analysis of Sassanid, Byzantine, and Egyptian textile patterns and study the reasons for some differences between them in using the Sassanid patterns as an identical text in their fabrics. The results can help find the affecting factors of stability and acceptance of a template in terms of visual style and structure and applying outcomes in creating new designs.
For investigating this issue, the intertextual approach and Roland Barthes' theories have been used. Thus, by considering Sassanid motifs as a text, it is tried to study and analyze how they are placed in other regions' text. In the designed tables, the selected samples from each field are structurally examined and analyzed. Textiles' motifs composition structure related to the different areas has been studied separately in six thematic subjects and different compositions, including single birds in a medallion, single animals in the medallion, symmetrical double composition, symmetrical composition with a central motif, hunting, and narration. This division is based on the majority of repetitions of a subject among the prototypes of three geographical and historical areas, as well as its generalizability in all of them. The 'form text' and the 'written text' are obtained and presented in the tables by designing a diagram based on the fabric pattern’s structure.
Since the samples belonging to the Sassanid period are considered pre-text in this study, their compositional structure is extracted in the first column of the tables and used as a basis for analyzing samples for other areas.
The results show that different regions have different perceptions of the same "text" based on their previous knowledge and pre-texts. Also, in the reproduction stage of the design, they create a new " opus" in which, despite the similarity to the prototype, traces of features and symbols derived from their own regional identity or, in fact, their own texts are evident.
Comparing to Byzantine, Egypt has retained most of its outstanding features, which can be attributed to its long history in the textile industry, as well as a rich background of cultural, religious, and mythological texts, which allowed them to Have more choices in replacing the designs in a new structure. With the more affluent cultural background and context of a region, the result is not mere imitation. It moves towards creating an original artwork involving a structured text network.

Warning and evangelism are two tools in inviting and guiding human beings that are mentioned in the holy books. Sometimes these concepts are quoted in the form of the stories of tribes and prophets such as the story of the prophet Jonah mentioned in the Qur'an and the Bible with some differences in the narration. Jonah is regarded in Christianity as the proof of the capacity of the gentiles for salvation and the design of God to make them partake of it. In the same passage he is referred to, as are many of the prophets, as a forerunner of Jesus.  Similarly the three days and three nights which he spent in the whale's belly are seen as a prefiguration of the three days and three nights he would be "in the heart of the earth. In Islam Yūnus (Jonah) the prophet was one of the most prominent descendants of Abraham. He was one of the apostles of Allah, even though he fled from his mission because he thought that Allah did not control him . His fate, however, designated him for destruction. Had he not praised Allah, he would have remained in the belly of the fish until the day of the resurrection of the dead. The myriads who were warned by Jonah believed in Allah and continued to enjoy His mercies for a time.  The story of Jonah was a favorite subject in Islamic legend; several motifs worthy of adaptation are found in it. In Islamic and Christian miniatures the story is a current subject.  In these paintings, a part of the narrative is highlighted; Most of the Islamic paintings depict the final part of the narration and most of the Christian paintings depict the initial part. This study aims to better understand Islamic and Christian paintings on the subject of the story of Younes related to medieval periods, based on iconographic views of Ervin Panofsky with descriptive-analytical method and comparative approach. Panofsky established a layered or step-by-step method that was slow and deliberate, requiring an extensive education on not just the work of art but also of its culture of origin. If, for the linguist Saussure, words were signs that were signifiers for the thing signified, than for Panofsky, the work of art could be understood as a visual language in terms of the sign, signifier and the signified or icon, iconography, and iconology. Panofsky continued his opposition to formalism by stating that the “pre-iconographical description” was a “pseudo-formal analysis,” but that this first take was a “practical experience” that was “controlled” by the history of style. Moving up from the bottom to the next layer or level of meaning, Panofsky introduced the “secondary” or “iconographical analysis” that required “knowledge of literary sources that concerned historical themes or concepts.” What are the similarities and differences between Islamic and Christian paintings in relation to the concept of warning and evangelism? What is the reason for the emphasis of Islamic and Christian paintings on a particular part of the story of Jonah? are the research`s questions.