پژوهشنامه گرافیک و نقاشی
پیاپی 9 (پاییز و زمستان 1401)

Considering the importance of metaphors in the design of the second Pahlavi royal emblem of Iran and Britain, the question is: What is the impact of visual metaphors on comprehending the final beauty of the two royal emblems? The goal and path is based on the analysis of structural elements to advance towards identifying the type of visual metaphors and their aesthetic features. It is a comparative  research with a descriptive-analytical method that enumerates the similarities and differences. The method of data gatherig is library information collection. The research approach is based on the theorists in cognitive and aesthetics field of research. After considering several elements in the royal emblems of the two countries, the similarities between the two emblems are as follows: in the center of both emblems, the image of a shield can be seen, which consists of four parts. In the second Pahlavi emblem, the national signs of the Achaemenid, Sassanid, Islamic, Qajar  periods can be seen around the first Pahlavi one. The British royal emblem also shows the image of the three lions of England in the first and fourth quarters. The Scottish standing lion also belongs to the second quadrant and the image of the Irish harp also belongs to the third quadrant. The use of crown and lion is also one of the similar points between both Iranian and english emblems. Both of them use mythical animals or hybrid creatures such as phonix, Farvahar and unicorn. Both of them have supports or ribbons with a royal slogan placed in the below section of the emblems. Justice in the second Pahlavi emblem is like a divine gift to the king. In the British emblem, the kingdom is a kind of divine entitlement from God, which is given to the king as a judge. The differences are as follows: the emblem of Britain uses its belt and along with the buckle instead of hanging on the cross or Mary's ascension. It can be seen in the Pahlavi emblem by means of a chain, and also the vine leaves around the shield, the torpedo mouth arabesques, and the flower motifs are among the decorations of the Pahlavi emblem. Thistle (symbol of Mary's virginity and Christ's crown), Theodore's rose (symbol of the union of the houses of York  and Lancaster) and clover (symbol of St. Patrick) are among the decorative elements of the British emblem. The rising sun in the center of the Pahlavi royal emblem is not seen in the British. The final difference can also be stated in the placement of two guard lions around the Pahlavi emblem and the placement of a unicorn and a lion in the British one. The second pahlavi emblem has more  hybrid creatures, while the unicorn is the only mythical creature of the British emblem. In the emblem of Britain, the helmet of the knights can be seen and it suggests a human whose body seems empty, while in  the second Pahlavi one, it is more difficult to recognize such a thing due to the lack of leaves to suggest hair. The origin of metaphors in the second Pahlavi royal emblem shows the following purposes in order. Crown implies the material concepts such as royalty and kingdom power, shield  states guarding the country and the sword indicates spiritual concepts such as the importance of Shiism. The lion shows the purposes such as protection, courage and Imam Ali (peace be upon him). Farvahar means divine and spiritual forces and indicates the Achaemenid period, phonix (simurgh) states the cosmic and supernatural forces and suggest Sassanid era, Damavand implies the mythological and Pahlavi era of Iran. Blue, yellow, and red colours, respectively, choose the brightness and spirituality; wisdom and blessing;  happiness and prosperity as their destinations. Origin of Metaphors in British Royal emblem show the purposes as follows: crown implies the spiritual growth and enlightenment, golden helmet indicates the Royal family and chivalry, standing lion means the king and guardian of the worldly force, the horizontal lion implicates the power of the kingdom, the unicorn indicates Christ and Patron, the belt shows the power-covenant and ascension to heaven, three horizontal lions decision making- foresight, also is the sign of England, harp shows spiritual growth -Irish Gods and country, the Standing Lion indicates broad-handed and long-armed, also indicates Scotland, full shield; is a sign of Great Britain and the United Kingdom. Metaphor in white, red, yellow, blue, green, red and white colours, respectively, implies purity and innocence; lordship and virtue of ruling; The power of the sun and blessing-kingdom; spirituality-spiritual growth; life and immortality; The union of the kingdom (York and Lancaster houses in past and two other contries in present) is the destination.From the common purposes of the two emblems, the need to confirm religion, guarding and protecting, and the importance of the kingdom's power on earth, and the importance of the king are inferred. In the Pahlavi emblem, different historical eras and their unity are understood, while in the royal emblem of the United Kingdom, the united countries are more important than the historical period of England itself. The spiritual dimension is more prominent in the emblem of Britain. It is as if more universal concepts are needed to unite different countries. In the second Pahlavi emblem, the historical dimension is more specific, because the Pahlavi period brought together all the proud historical periods in the emblem. The results show that the similarities of structural features is greater than the differences between the two emblems. From a content dimension, the emblem of Britain is more fruitful in terms of the multiplicity of elements. The meanings of each of the elements in the emblems are affected by the political and religious conditions and the cultural and historical precedents of that country.The comparison of the beautifying characteristics, shows that the more visual metaphors, the more complex the design seems to be, and the audience faces more tension and more defamiliarization. The greater the unity or harmony, the greater the possibility of entering to the threshold of beauty. In the emblem of second pahlavi, substitional metaphors are almost equal to combinational metaphors. In terms of unity, the repetitive designs such as damavand, lion, sword, yellow, and colours like blue show the Pahlavi emblem as coherent and unified. In this design, complexity is more important than unity. In the emblem of Britain, the substitional metaphors are less than the combinational type. The combinational metaphors cause the unity of discrete parts or components.For example, in the emblem of Britain, the helmet, the shield and the belt together evoke a royal body and there is less tension in finding the final destination. In this emblem, unity as a beautifying charactristic seems a little stronger than complexity. The results show that the discussion about beauty is not solely dependent on the harmoy of the shape and form and colours of emblems or works of art. The conceptual and meaningful dimension also plays an important role in the distinguishing of beauty. The harmony of whole composition and holistic content is realy determinant.  The beauty of visual  metaphors includes both harmony and complexity of formal and content aspects. The historical precedence of the design and construction of the emblem of Britain (from 1837 up to 1952), the structural similarities between the two emblems, reveals the possible influence of the second Pahlavi emblem from the of Britain, although in the design of both emblems, different components with historical, cultural and political themes are understood. Through the study of emblems, it becomes easier to identify the direction of their relation in the future due to important agreements and goals from structural, content and aesthetic aspects. Finally, the study of the royal emblems of two countries makes it possible to identify the perspective of the today goals and future covenants.

Problem statement:

 Computer games are one of the latest achievements of communication technology that has a new approach in narration. Participation and the possibility of influencing the user by selecting two or more characters in the story narrative, not only has not removed this field from the traditional period and the linear course of narration in games, but has entered a new era with the introduction of its interactive narratives. Interactive narratives in computer games fall under the artistic trend, which, along with the importance of the aesthetic aspects of the narrative, tries to provide the fields of interaction with its story elements by providing an effective role in the formation of the story of computer games. Interactivity is one of the reasons for the penetration, attractiveness and high sales of computer games, and they believe that the interactivity factor separates video and computer games from other media. The role of the audience in forming the narrative is very broad. The narrative structure is also important in the formation of the audience's interactive relationship with the games. The present research, while explaining the role of interaction and the importance of interactive narratives in the structure of computer games, introduces its main elements.

Research question:

 This research seeks the answer to the question of how to provide a model for interactive computer games to give users an interactive form.

 This descriptive-analytical research is based on the perspective of Roland Barthes in discovering the narrative structure and the three main levels of functions, actions and narration in interactive computer games are analyzed in order to identify a model for making computer games and to identify the audience as the action of the narration and its guide should participate through the helpers. In order to achieve the goals of the research, one of the first interactive computer games named Mortal Kombat is analyzed. This game contains a series of narratives with a fighting genre, created in a fictional world by ancient gods in eighteen realms. In the video game industry of the 90s, it not only influenced the formation of interactive media, but also contributed to the innovation and evolution of the fighting genre with its high-quality story and cinematic modes.The main plot is the fight in Mortal Kombat game, and in the form of branching, there are two sub-plots that are dependent on the main plot, making the core narrative of Mortal Kombat computer game. Based on Roland Barthes’ opinion, the core and catalyst functions, profile functions or actions, which are the prominent characters in each period of the game, and the informants, the effective place and time in the narrative flow of each successive period of the game, are specified in the above table. And users (players) before starting the game by selecting one of the characters of the story, start their performance and activities under the fight. The achievement of victory has the main function of freeing the territory, conquering or combining the territory and becoming a hero, and the achievement of defeat includes the main functions such as conquest and death. Catalyst functions, in some periods of the game, are formed around the main functions. The profiles refer to the active characters and informants to determine the time and place in the narrative of each game period.

 The proposed structure for interactive computer games is a combination of pearl narrative, branching narrative and narrative structure from the perspective of Roland Barthes, which includes progress, main, mediating, indexing and informative functions. Pearl narrative is a linear narrative and has its own limitations. The possibility of interaction for the user is limited and allowed to step-by-step choices. In the branching narrative, the progressive and progressive steps during the game require the definition of the main and intermediate functions as a roadmap for the user to expand the level of his involvement and choices and enter the desired path and the narrative in it. As seen in the structural analysis of the Mortal Kombat computer game, the narrative process from the beginning of the first period to the eleventh period and the add-on package ends with the final choice and freedom of the user in selecting the final fate and deciding on the victory of Shang Song or the God of Fire. The proposed structure of a combination of the structure of interactive computer games is described below:  The proposed structure of the interactive narrative of computer games;  A combination of narratives of pearls, branching and structuralism of Roland Barthes. 
In this structure, the stages of the computer game take place sequentially (A, B, C, etc.), in each stage one or more progress (P) can be defined, each progress includes several core functions. (f1, f2, and...) and users play by selecting actions (i) and informants (e), and core functions and then by selecting the function (catalyst) (C) that has core functions (f, f2 and ...) and by obtaining the result of victory (R) it goes to the next stage. Reaching to the last stage is selecting the final fate and key characters and finishing the game by the users. The structure can be changed according to the narratives of the game and have more branches, the stages of the game, achievements, nuclear and intermediate functions or the number of profiles and informants can increase or decrease. In general, it seems that the narrative infrastructure in interactive games combined with interactive narratives may follow such a structure, thus by creating more paths in the narration flow, it exposes the users to more possible challenges. It makes the game more exciting and, more importantly, it creates more interaction between the game narrative and its actors and users. By proposing a structural model for the analysis and optimization of computer games, while helping users, designers, and critics in this field, it is possible to express part of the necessary fields for a correct understanding with interactive narratives.

In this research, the battle story of Sohrab and GordAfrid has been investigated based on Walter Fisher's narrative theory and the feasibility of using video art. According to Fisher's narrative theory, rationality in all its forms is necessarily based on narrative. Due to the fact that narrative structures became a constant element in media works such as video art, in this process, retelling the untold stories of Iran, including the stories of Ferdowsi's Shahnameh, using the media of video art, has become more and more essential. The way of telling stories through video art can lead to effectiveness and familiarization of different age groups of society. In other words, narration is anything that tells or presents a story through text, image, performance or a combination of these. Hence, novels, plays, films, illustrated stories and even video arts are considered narratives. In addition, based on this almost unlimited variety of forms, narration is present in every era, place and society. Walter Fisher considered narrative as the basis of communication and looked at all communication as a narrative, so he presented the model of "human as a storyteller". Based on this theory, the author has tried to address the importance of the artist as a narrator. By using this theory and utilizing the developing technology of video, Iranian artists as contemporary narrators can tell their desired stories. With its storytelling feature, video art combines the logic of the story and narrative with the power of the artist's imagination, it invites the audience to watch a unique form of storytelling which combines ancient stories through a modern medium. According to the fact that most of the ancient Iranian stories have either remained untouched or have been subjected to shallow readings, the artist can use the features of this medium by addressing the ancient instructive stories and more importantly revive the concepts and texts of rich Persian literary and Iranian culture. One of the unique features of this presentation is establishing a relationship between domestic and foreign audiences in the unlimited space of social media, which is a big step in this process, for example, by narrating the stories of Ferdowsi's Shahnameh, including the narration of the aforementioned story, artists will represent their apprehensions for a large number of audiences all around the world which also helps with the idea of reviving Iranian ancient stories. Based on what has been stated the above, the questions that arise in this article are: Can technology or more specifically video art be a suitable tool for narration in the present era, or in other words, will technology be an efficient answer for traditionalists who are against the correlation of new art with classic art? And how to narrate ancient stories through new media? With this purpose, this research is of descriptive-analytical type, and the results indicate that in the dynamic culture of the present age, by using new media, ancient written stories such as Shahnameh can be thoroughly presented to the audience. On the one hand, it can be seen that the interactive functions in retelling these traditions have not progressed, and on the other hand, it can be seen that the classical arts will not be able to bear the heavy burden of the changes and transformations of current society and the forgetting of the ancient national traditions, so it is necessary to examine the feasibility of technology to create new classic artworks and for more efficiency, for the purpose of this article, it is possible to retell the battle story of Sohrab and GordAfarid through video art which is a form of narrative. In any case, the phenomenon of technology has affected our society and daily life which will have a lot of consequences. Certainly, it is not possible to stay away from technology in today's world, but using it can even be advantageous in cultural dissemination. Knowing the media of video art and the feasibility of using technology in order to narrate the mentioned story and examining the characteristics of the narration has helped the narrator or the artist to be able to use their creativity and their own point of view to create an original work with an ancient theme.

The nature of narratology in the field of picture, since it has a distinctive appearance compared to other visual areas of the narrative, is clearly different from other fields. The difference between a pictorial narrative, such as a painting or a miniature, and literary or cinematic narratives is in the momentary nature of its presentation. In such a way that there is no time sequence in their narrative. In a general definition, narratology is the study of narrative and narrative structure, as well as the methods that affect human perception when faced with it. The origin of narratology goes back to Aristotle's theories about the science of speech. Nevertheless, it is accepted that modern narratology was initiated by the Russian formalists, especially Vladimir Propp and Mikhail Bakhtin's theories of heteroglossia, dialogism, and chronology, first introduced in his book; The Dialogic Imagination: Four Essays (1975). In general, the narrative has been proposed as a description of two separate events, and theorists have been discussing the form and context of narratology for a long time. Meanwhile, Tahmasbi Shahnameh is one of the most well-known collections of narrative paintings in Iranian culture and art, which has a strong link with the classical literature of Iran and expresses the stories and events of the Shahnameh in the form of pictorial narration.Tahmasabi Shahnameh illustrations are one of the examples of visual reading of the Shahnameh narration in the form of pictures. In this research, it identifies the path of transformation between pictorial text and literary text of Shahnameh through the narratological analysis of one of Tahmasbi Shahnameh miniatures titled "Zahhak: The legend of the Serpent King", and since one of the most used motifs in this illustration is the horse, therefore, this article emphasizes on this motif. In this article, taking into account that the essence of narrative studies is in the field of imagery, which is different from other visual fields of narrative, an attempt has been made to analyze and examine the image of Zahhak Mardosh, emphasizing the role of the horse motif. Zahak Mardosh's painting of Tahmasabi Shahnameh, which belongs to the Safavid period, is one of the examples of visual expression and narrative painting. Due to the abundant use of the role of the horse in this painting, the role of the horse has been emphasized in the analysis of its visual narrative. In this picture, which refers to the tying of "Zahhak" in a cave, it represents the story of "Zahhak: The legend of the Serpent King" in Ferdowsi's Shahnameh from the perspective of visual media. The fact that a story can be told in different media is one of the basic claims of narratology, and in this article, he tries to analyze the visual narrative of this picture by examining two active and responsive elements in this picture. In general, visual narration originates from the assumption that individual images are capable of evoking stories or implying meaning, but for storytelling in the strict narratological sense, a specific path must be determined, which can be achieved by creating semantic bases from two factors: the active and responsive. Therefore, in order to find semantic implications during the analysis of the narrative of visual expression, attention should be paid to this issue. So far, the studies on the visual format of narratives have been limited to studies on the structural composition and coloring and the relationship between the components of the visual elements of the image, and less attention has been paid to the concepts of the semantic implications of the images based on the theories of narrative theory. Considering the few studies in this field, the necessity of research in this case requires that more attention should be paid to the discussion in this field. In this way, the purpose of this article is to study the narrative role of the horse in the painting of "Zahhak: The legend of the Serpent King" by using visual cognitive narrative analysis to identify the two elements of the active and responsive parts and to identify the signs of the pictorial narrative and to find the visual semantic implications of the text of this story in this painting. This article is focused on the different way of expressing the visual meaning of this painting with the literary text of Shahnameh. It should be noted that since one of the most widely used motifs in this painting is the motif of a horse, the motif of a horse is considered one of the important visual elements in relation to the semantic implications in the narration of this story. The nature of this research is of a basic type that has used the descriptive-analytical research method and examines the role of the horse in the painting of "Zahhak: The Legend of Serpent King" in the Tahmasbi Shahnameh. The aim of the research is to identify and analyse images and how they relate to the narrative text in Ferdowsi's Shahnameh. In addition, in the context of the destination, a picture with the same title is considered in the Shahnameh of Shah Tahmasab. Finally, they are compared in two different mediums of Iranian literature and painting. The research questions are: To what extent are the signs of the pictorial narration of the Miniature of "Zahhak: The Legend of the Serpent King" in Tamasabi Shahnameh compatible with the expressive signs of the Shahnameh? How has the meaning transformation in the process of transforming the text of this narration into a picture in the miniature of "Zahhak: The Legend of the Serpent King"? In this way, in the first part of this article, the analysis of the visual narration of the story of "Zahhak: The Legend of the Serpent King" is discussed, and then, the perception of semantic implications from the visual media in this image is examined. In the other part, the structural analysis of the narrative is done, in order to analyze this image, hypothetical lines have been drawn in connection with visual elements and the relationship between these elements has been identified. In this way, two active and responsive parts were defined and the position of each element in these two parts was determined. Therefore, the layers of Shahnameh narrative in this painting are extracted based on two components: active and responsive part. In this way, in the narrative analysis of "Zahhak: The legend of the Serpent King", two active and responsive factors were identified, which are simultaneously with the narration of the story, these elements, which are parts of the trajectory of "Zahhak: The legend of the Serpent King", with the constant variable of the visual expression of the story, which is the role of the horse. They have established a close relationship. In such a way that in the visual reading of the components of the composition of the picture from the painter’s point of view, the main core of the picture is drawn on top of the picture, in a way that dominates the role of other elements. The role of horse motif has also been introduced as an active factor in the story line of this narrative, which in the study of composition and colouring of this motif role, has connected with the responsive elements which are the scenes of the story. Therefore, the role of human elements has been introduced in this picture as a part of the responsive elements. The results show that in the representation of hypothetical vectors in the illustration of "Zahhak: The Legend of the Serpent King", this miniature is divided into two active and responsive parts, which connect the components of the picture horizontally, vertically or diagonally. Therefore, the horse motif as an active factor gives shape to the components in the image. In the end, in extracting the layers of Shahnameh's narrative in pictorial form, in addition to the represented visual elements of the story, attention has also been paid to the type of interactive elements in the form of two active and responsive agents.

The general subject of this paper is an interdisciplinary study in the field of organology, considering ancient Persian music with a reference to visual narration in Iranian painting. In current research, two significant issues are specifically addressed: first, the identification of musical instruments in the marginal illustrations of an exquisite manuscript of Divan of Hafez; and second, research on the gender composition of the musicians in these paintings. Among the questions are: Generally, which instruments are depicted with how many repetitions and variations in these paintings? Which instruments are primarily in the hands of male musicians? Which are mainly in the hands of female musicians, and which are almost in the hands of both genders? By answering these questions, iconographical knowledge can be obtained based on the images of common or famous instruments at the time and place of the creation and completion of the aforementioned  manuscript. As an implicit purpose, by analyzing the choices of painters in deciding the gender of instrumentalists, it is possible to try out hypotheses about the gender composition of musicians or produce new speculations in this field. In historical musicology, the musicological studies of images and paintings are known as iconography or iconology. The scope of research in the historical sociology of Persian music has not yet expanded, and the collection of musical literature that has been provided by using visual narratives and considering them as texts has remained relatively poor. Organology is a large branch of musicology with a broad scope; therefore, considering the limited scope of an article and the multitude and variety of research topics, we have to choose a case study regarding the material and its limits. The reigning period of the Timurid dynasty (1370-1507) is of particular significance in musical studies. The music of Iran in the post-Timurid era (especially in some periods of the Safavid era) until the Zand and Qajar eras, in which a rebirth takes place, has been stuck in a kind of stagnation and decline, especially in the theoretical aspect. The study materials in this research are divided into two categories: primary research material and comparative sources. Comparative sources are those sources that will be used for the comparative analysis of the primary material. Numerous books, treatises, and manuscripts about Persian music contain valuable organological information. The crucial premise of this research, in case of possible estimation and generalization of the gender structure of musicians to the entire musical culture of that time, is that painters did not act arbitrarily in deciding the gender of musicians of different instruments. Instead, according to their own experiences and the traditions of the musical culture of the time, they depicted the so-called ‘masculine’ instruments in the hands of male musicians and the ‘feminine’ instruments in the hands of female musicians. In the tradition of Persian painting, as well as the Indo-Mughal style, not only often are the time and place of the events not precisely known, but the identity and gender of the figures could hardly be determined only by the face. An exquisite copy of Divan of Hafez is held in the British Library under Or. 14319 is the primary material of the present research. Its creation and completion took place between the end of the Timurid era and the middle of the Safavid era, first in Herat and then in the Mughal court of India. What doubles its value and significance in organological studies are the images of the musicians. These images are depicted in the decorative zones in the margins of the poems. Due to the general inaccuracy of painters in drawing details, it is only possible to partially match the rigid descriptions of the ancient musicology with the paintings drawn by the painters. However, in general, the instruments of this collection are divided into several general groups and subgroups:Group 1 Wind instruments, including: a) Ney (mizmar) and similar instruments (without reed); b) Sorna and similar instruments (with reed). Group 2 Percussions: Dayereh Group 3 Bowed instruments: Kamancheh (fiddle, with or without a bow) and similar instruments. Group 4 String instruments, including: a) Rubab with a vase-shaped bowl similar to a tulip flower; b) Oud, Tanbur, and similar instruments; c) Qanun. It is peculiar that out of the relatively large number of string instruments in this collection, only one example can be matched with our knowledge about the Oud, an essential instrument in ancient Persian music. Therefore, it can be assumed that the creation of the illustrations in this manuscript took place at a time and place when the Oud gradually lost its importance compared to other string instruments, such as the Rubab, and diminished. Among the 34 musicians that we see in the illustrations of this version of Divan of Hafez, about 71% are men, and 29% are women. In addition, in this version: If we exclude the musicians depicted in the image of the angels, all the musicians of the wind instruments (Ney and Sorna) are men. Contrary to the widespread belief that Dayereh players were once women, only one out of six are female. About the musicians of bowed instruments, the creators have considered an almost equal share for men and women. None of the five Rubab musicians are women. Compared to wind and percussion instruments, more women are seen playing various string instruments (except Oud and Tanbur). The Qanun player is shown only once, and that time, according to the standard gender stereotype, is a female musician. In this research, thirty-four portraits of musicians have been studied. The instruments and gender of the musicians have been identified. Ney and Sorna instruments, Dayereh, Kamancheh or Ghezhak, Rubab, Oud, Tanbur, Seta, Sheshtai or Roohafzai, and Qanun, are present in the present collection. As much as the structure of instruments such as Ney, Sorna, and Dayereh is more straightforward, their design is also easier for painters. That is why half of the instruments in this collection are made up of these three. Also, the striking predominance of the presence of the Rubab compared to the essential instruments of old Persian music, i.e., Oud and Tanbur, indicates shifts in the typical instrument composition in this period (17th century). The contribution of female musicians in this manuscript could be more impressive. Some instruments such as Qanun and Setar, which stereotypically are considered ‘feminine’ even today, are seen in the hands of women. In addition, if we exclude the three angelic beings, none of the Ney, Sorna, and Rubab players in this collection are women; and this confirms that men often played wind instruments in ancient times. At the same time, we see only one Dayereh musician in the image of a woman. If this idea and method are used in the study and examination of a more significant number of paintings and manuscripts of the history of Persian art, perhaps it will bring more detailed results regarding the historical sociology of Persian music in terms of the gender composition of musicians. Although the number of images of musicians in this manuscript is significant compared to many others, we need a more reliable and suitable statistical sample to consider the results as generalizable.

Manual printing is considered one of the common techniques in the reproduction of art, in which the intervention of the human factor is very high And most of its executive steps, such as design, preparation of printing media, printing and the operations after that, are done by hand. In manual printing, there is usually no customer, and it can be said that the result of the work is considered the final product. By printing and duplicating work, the artist can make cheaper examples available to those interested. Its different methods include hollow printing, embossed printing, level printing, silk printing, batik printing, etc. In this type of art, images are created indirectly and its methods are suitable for expressing the new and creative experience of the artist. The origin of hand printing in the world is related to the effect of hands stained with soot on the walls of stone ancient caves. Its first manifestations in Iran have appeared in the motifs of seals. The term used in Iran for basme with a wooden mold, has a long history. But what we know as Eidisazi was a type of traditional hand printing in the Qajar era In which the artist would carve some decorative wooden molds with different subjects on paper and then paint the resulting images with ink or watercolor. These pictures were bought by Mullahs and Mullahbajis and were given as gifts to school students near Nowruz. Usually, the number of motifs and pictures of each print represented the academic years of the student receiving the gift. This art dates back to the end of the 12th century of Hijri and maybe older, but with the introduction of machine printing in the 13th century of Hijri, this art is declining. There was a lot of variety in the motifs and images of the Eidisazi, but these motifs were different from each other in terms of quality and were not uniform in terms of theme. Perhaps the Eidisazi designs can be found in the motifs of pens, miniatures and oil paintings in the Zand and Qajar eras and religious curtains. The variety of motifs is such that you can see both goat and martial motifs, as well as religious and historical scenes and themes of everyday life. The Eidisazi pictures reflect the aesthetic appeal and taste of the people of the Qajar era. Unlike the official paintings of the court and nobility, which are rich and detailed, their obvious feature is considered. The lines in these prints are very simple and without complications or details. All in all, the patterns of Eidisazi are from the splendor of the nobility of the period, and the complexity of the designs has turned into simple patterns. What is beautiful and catchy at first sight in these images is their simplicity and harmlessness. This simplicity attracts attention not only when compared to the official and courtly art of that period, but it is also evident when compared to folk images (paintings of coffee houses, paintings on tiles, etc.). The narrative that exists in these forms is probably the result of the stories that are mentioned in coffee houses or gatherings of the messengers. Sometimes the design of the figures and objects do not have the correct proportion, but often the figures are expressive and represent the characters' bravery, oppression, anger and worries without any difficulty. The subjects of the images are often taken from folk stories such as Samak Ayyar, Amir Arslan, etc., or religious stories such as the martyrdom of Imam Hussein (a.s.), the story of Yusuf, etc., or mythological stories such as the stories of the Shahnameh or It is taken from everyday life and ordinary people without any stories or anecdotes. Eidisazi as a folk and traditional art that has been formed among the common people has never had a strong supporter. For this reason, our information about it is limited to the images obtained from the number of about 100 molds And unfortunately, most of them are damaged or without birth certificates and titles. The aim of this essay is to introduce as much and better as possible this traditional heritage and folk art, which is done with the approach of structural analysis and graphic dimensions of the motifs of these works. Following this goal, the main question of the research is raised as follows: What are the visual characteristics and visual space of the Eidisazi motifs?The history of research related to Eidisazi is summarized to the introduction of this type of printing, based on this, the present article also studies the structure of motifs and visual elements of Eidisazi based printing with a brief overview of previous achievements. The research method is descriptive-analytical, which is done by referring to documentary sources and viewing the images of these motifs. The statistical population is the number of more than 30 printed images of basmeh, which were obtained by referring to the above-mentioned records and the online gallery of the Children's Literature history Research Institute. The criteria for selecting the samples was based on the health of the remaining images and ease of access, and the works that had the greatest affinity in providing the goal and answering the research question were selected. The results of the research showed that as a type of traditional art, Eidisazi is a part of Iranian national identity and enduring heritage, whose visual values cannot be ignored despite its obsolescence. The motifs of Eidisazi are derived from the beliefs of the people of the era who gave importance to religious, literary, mythological themes and folk tales and displayed their thoughts in the form of simple and concise motifs. Eidsazi artist has tried to create the greatest impact on the audience with minimal facilities and has presented art that can be accessed and used by all classes and masses. Understanding the visual space of these motifs can play an important role in contemporary art, therefore, in order to answer the research question, the following achievements have been achieved. The free and informal nature of the Eidisazi motifs is rooted in its function, which can also be seen in the components and visual elements of the images. As the main element of the print structure, the line performs several tasks that have led to the creation of various visual effects on the viewer. The dominance of the line element is evident in the Eidisazi motifs and as the factor that separates the shapes from each other, it is also responsible for the lack of elements such as color. The lines of the design have found different expressive roles and have become the cause of darkness-brightness, texture, rhythm and patterning in these prints. The balanced connection of positive and negative levels, the creation of light shadows by linear stripes and black spots, the drawing and decorative texture and the varied rhythm of the lines have given a sense of dynamism and vitality to the images and served the performance and identity of non-courtly and popular art. The surface that is formed by the movement of the line in the space shows its most complete visual expression in Eidisazi when viewed from the front. In general, the surfaces in these motifs appear flat and two-dimensional. The predominance of non-geometric and free surfaces in the images of the prints have appeared in line with the informal and free nature of the themes. The motifs of Eidisazi have a balanced and often figurative composition, which are formed in a closed viewing angle, and its faces and figures have a general similarity; A similarity that is formed according to the aesthetics of the Qajar era and shows the type of coverings of the lifestyle of that period. As the dominant element of basmeh, human is generally located in the center or the most impressive point of the composition, and the way it is drawn emphasizes the power of design, animal bodies are designed in diverse and dynamic forms, and strange characters and imaginary creatures are also in these images. It can be seen that the figures of evil creatures are often drawn by exaggerating the dimensions of the head. The print artist has carved various forms of simple figures with brief lines. Figures that are influenced by the popular Qajar style are short and relatively fat. The soft curves of the lines in drawing the figures and the folds and creases of the clothes and decorations convey a sense of life and reduce the passivity of the spaces. This way of working contrasts with the official subjects of the court and depicts the dynamics of life and beliefs of ordinary people and their popular traditions.

To Iranians, the house is a place of safety and comfort, invocation and birth, and according to this, cultural, social, ethical, economic, biological, and aesthetic aspects are considered in its construction. In the surviving buildings from the past, we can also see the traces of the desire of humans to decorate and beautify their living environment. After Islam entered Iran, Islamic culture, art and thought gave a new look to Iranian art without changing its identity. After Islam, the architecture in Iran was blessed with rich colors, design, elegance and unique precision. The motifs used by Iranian artists were not only used to decorate the building and were always formed based on special concepts. By choosing natural forms to be used in the building, the Iranian artist has created a connection between the material and spiritual world. In decorative motifs and components of Iranian art and architecture, the unity of the whole and the plurality of components prevail, and in a certain stage of its evolution, there are countless types of decorations and it can be seen from the internal and external walls of the building that they have priority over other architectural elements. In addition to the value and formal beauty, these arrays express the cultural and religious secrets hidden in them and shape the ideas and ideals that govern the intellectual atmosphere of society. In Iranian architectural decorations, the art of painting is inspired by nature and its surroundings. Kashan city is one of the ancient and historical cities of Iran, which dates back to prehistoric times. In the ups and downs of history, the city faces stagnation and the development of industry and commerce by being destroyed and rebuilt. At the beginning of the Islamic period, the Mongol invasion and the Afghan sedition caused the city to stagnate, and on another occasion, it was credited during the Saljuqi and Safavid periods. The decorations used in the Qajar buildings of Kashan show the traditional effects or a combination of native values and western beliefs prevailing at the time and the impact and manifestation of economic, religious and cultural conditions. The historical buildings of Kashan are mostly related to the Qajar period and the ownership of these houses is mostly owned by the merchants and scholars. Often, the owners of the house were the founders of the house who lived there with their family and servants for generations. These houses have unique architectural decorations, most of which are inscriptions, plant, geometric and animal motifs. Considering the richness of decorations in these houses and also considering the disappearance of these valuable treasures that have identity, beauty, and originality, and the disproportionate copying of motifs, It is necessary to revive these original forms and motifs with research on this topic. The old houses of Kashan have a special architecture and many features that are formed based on certain criteria. These criteria are introversion, observance of the principle of hijab, preservation of privacy and neighborhood rights, observance of the principle of symmetry, observance of the principle of proportion, philanthropy and purity, principles of spatial hierarchy, organism, centralism, and functional classification. The purpose of this research is to analyze and classify the plant motifs of historical houses in Kashan. The questions are, what types of decorative roles are included in the historical houses of Kashan and in what categories do they fit? The research approach is qualitative and the method is descriptive and analytical, and the data collection is based on written sources, experts' assistance and field observation. The statistical population is the historical houses of Kashan, among which the houses with more prominent decorations (the Abbasid house, the Borujerdi house, the Tabatabai house, and the Ameri house) have been examined. Sampling is purposeful and of the type of obvious cases. Many articles have been published about Kashan and in most of these cases, they have relied on the history, culture and architecture of Kashan. Most of the research and data collection methods in these researches were qualitative, library and field. In the meantime, the research on the decorations and motifs of the shell of the building, especially the plant motifs, which has not been addressed with a qualitative approach and descriptive-analytical method and targeted sampling method. The most recent articles include: Milad Bagh Sheikhi (2021), in the article “Study of Exterior Facade Decorations Qajar Buildings of Kashan City”, analyzed and classified the motifs of the exterior of Qajar buildings in Kashan. Zahra Mohammadi Moin (2013), in the master's thesis “Review and study of wall paintings of religious places in Kashan (late Safavid and early Qajar)”, has introduced religious places and investigated the aesthetics and stylistics of the murals of these places. Also, among the old books, we can mention the book Merat al-Qasan, which was written independently about Kashan, which was ordered by the ruler of Kashan, Jalaluddin Mirza Ehtesham al-Mulk, by Abdul Rahim Kalantar Zarrabi. Other examples are Kashan encyclopedia, which is about the Aryans and the Kashi people. Or the collection of the ups and downs of Kashan, which is narrated by others, as well as a collection of writings of travelers who traveled to Iran and described their memories. The findings showed that the plant motifs used in Kashan architecture can be classified into five categories: based on the way they are expanded(including Complete Motifs, Half Motifs, Quarter Motifs, and Repeated Motifs), style(Iranian-Islamic]abstract[,Western Naturalistic Motifs), expression of form (Life Tree, Cypress, Flowers and Pot, Medallion desing - Corner, Micro Motif as a monograph), combined motifs(The combination of plant motifs with animals, The combination of plant motifs with inanimate motifs) and performance technique (Painting, Stucco, Sarooj] water-resistant [mortar, mirror work.( These motifs include cypress trees, life tree, flowers and vase, micro motifs as a monograph, vine leaves, fruit, grape, wide leaves, flower and bush, rosette, artichoke leaf, small and big leaves, flowers and buds, palmetto leaves, ivy leaf. They are used in two realistic and non-realistic styles. Repeating patterns in the form of arabesque, khitan, medallion desing-corner, bouquet, fit the architectural space including the circular space under the dome, columns, the main bases, arch and half arch, and cornice. After Islam, Kashan progressed during the Seljuk, Safavid and Qajar eras due to the presence of Kashi ministers; its art and culture flourished due to the residence of artists and scientists, and among other things, the efforts of Amir Kabir during his chancellorship. Also, during the Qajar period, the traditional architecture of this city had a significant growth and development. The decorations used in Kashan buildings are influenced by ancient Iranian art, Sassanid art, the influence of Safavid period paintings such as realism and the influence of Qajar nobility due to its connection with the West. due to hot and dry weather of Kashan and lack of water and vegetation, the artists of this region tried to solve it by using plant motifs and introducing living nature around their living environment.

Problem Statement:

The category of identity first includes areas such as Philosophy, Logic and Psychology, gradually, due to the fundamental developments in science and technology, the scope of identity topics was also extended to man-made environments. In simple terms, identity is a set of features and characteristics that distinguishes a place from other places. Identity includes the physical characteristics of the appearance and landscape and the vitality of the environment, which is understood from the environment with the presence of social activities and behaviors, ecological quality, natural environment, behavioral camps, collective memories and other effective contexts, and this non-fixed concept is formed and finally according to the inclusion of the mentioned dimensions, it includes a more complete conceptual dimension.Graphic tools can have different applications such as advertising and beautification, etc. Sometimes these applications are combined with each other and at the same time, in addition to being a suitable advertising tool, they also play the role of beautification and urban identity. The alignment of these goals causes the city to take on a proportionate image, and in this case, it can be said that graphic tools are involved in the narration of text and images and have been able to take a positive step in this direction. Sometimes graphic tools are used just to beautify and identify a part of the city so that the image of the city can be prepared according to the desired space; This space may be event-oriented and run for a short time in the city. Sometimes, a symbol based on the city's identity and narration is designed and implemented permanently in the city. Like urban furniture, which is another graphic tool, and if it is created according to the identity, art, culture, climate and weather, it can be very effective in narrating the city. In another case, these tools are only placed in the environment and have no role in the specific narration of the city, signs and boards which are the tools of advertising and their role is only as a place for various advertisements in the city environment, and as it was said, their visual role in the city is not taken into consideration and are only a place for advertising. In the sample under study, it can be seen that graphic tools are formed regardless of the identity of the city; Graphic tools that do not fit with identity, art, culture, localization, etc., do not play a role in the narration of Bojnord city and are only tools for advertising, in such a way that they don't even pay attention to the appearance of the city, the created disturbance and visual pollution.The recent developments of Bojnord city and sometimes lack of attention to the use of identity issues in it have caused the historical and cultural identity of the city to receive little attention and the new developments of the city, alien to it, continue to grow. The development of these traditional values sometimes continues as a point in the historical places of the city (such as Mofakham complex), while the spread of cultural and historical values can flow throughout the entire fabric of the city. Understanding the current situation and people's understanding and experience of it, along with the traditional and past concepts of the city that still exist in the minds of many citizens of the city (even if the narration of text and images in the contemporary city does not correspond to it) is a subject that has gained the researchers’ attention.  In this way, the identity, culture and values and the role they can play in shaping the concepts, meanings and somehow "heterogeneous perception of the past, present and future" of cities will be the main topic of the present research.

Research questions:

Apart from what is mentioned under the title of "concepts of identity" in the context of our cities with the aim of avoiding the uniformity of the development of cities or distance from the categories of "non-identity" of cities, the present research tries to make the use of graphic tools in the Bojnord downtown a basis for investigation to pursue a central question: To what extent have the graphic tools used in Bojnord downtown (between the Mokhaberat intersection and Shahid Square) been useful in reflecting the city's identity with an emphasis on text and image narration?

This research has been conducted through a survey study and it tries to explore the way of manifestation and reflection of the city's identity in Bojnord downtown (between the Mokhaberat intersection and the Shahid square) with the descriptive-analytical method and based on the observation tools.At the same time, the emphasis of the research is specifically on graphic tools effective in this manifestation, focusing on covering the discussion of the specific urban identity of Bojnord city. 26 graphic tools (including signs (guide signs, street names, provision of regulations, etc.), fences, hedge, murals, benches, etc.) have been examined, and at the same time, it has been tried to consider these elements by the researchers in the creation of identity. In addition, five core questions about the "narrative of text and image" have been asked by a random method and available samples, from a total of 50 people present in the study sample.In general, according to the descriptive statistics of the research participants, out of the total number of 50 participants in the research, in terms of education, 37% have a diploma, 54% have a master's degree, and the rest (9%) have a doctorate or higher. 95% of the activists have admitted that they have repeatedly used or referred to the space. The average age of the majority of respondents is between 15 and 65 years old (86%). Finally, 93% of the respondents are natives of North Khorasan province.

The results of the application of Kristeva's theory of intertextuality, along with the researcher's field observations and the results of the citizens' questionnaire, showed that in the investigated area, according to the researchers' field impressions, while there are some of the 26 graphic tools under investigation, predominantly, a unique identity of the application do not exist in space creation, identity creation and beautification (except for the limited use of statues and murals) and secondly, the citizens who use the space (repeated use of the space) have acknowledged the lack of inducing a specific identity from the graphic tools available in the city center. Meanwhile, it seems that the development of Bojnord city and especially the downtown, regardless of the cultural values of identity, cannot reflect the special narrative of Bojnord city over time, and the result of this is the physical development of the city uniform with other cities and far from the specific identity of the city. The continuation of such a trend will result in the development of the city becoming alien day by day to "Bojnord" and its cultural factors; what will grow the "new" Bojnord city against the "old" Bojnord without paying attention to it. According to the field impressions and observations made in the sample under study, out of the total of 26 graphic tools examined, 14 items are within the available range, out of which, only two items are "murals (in some cases)" and also "statues, Symbols and monuments (to some extent)", have a special identity. It is worth noting that many graphic tools are selected and placed in the environment according to environmental requirements. The design of these tools in accordance with the identity of the city can strengthen these existential needs, but the harmony and proportion between the set of graphic tools that are placed in a combined environment is another issue that deserves more attention and investigation. As mentioned in this article, since cities have a social and cultural identity and each city has its own values and traditions, preserving these things in the narration of the text and image of the city can be very effective. Therefore, paying attention to the issue of value and especially the values emanating from history and culture, which directly play a role in creating identity, remembering civilization and narrating, should be taken into consideration by urban planners and should be considered in urban development policy making. Also, environmental graphics with the aim of guiding, informing, beautifying, increasing communication and interaction and ultimately creating identity in this process (by emphasizing the adoption of an intertextual approach in order to highlight identity-making subjects and new and attractive narration) can facilitate many affairs.

The works that are placed in the field of visual arts can be examined and studied with a narratological approach. In the realm of visual arts, Persian painting includes characteristics that make it possible to use the approach of narratology. One of the most important and interesting features of Persian painting works is the strong connection these works have with text and literature. Especially by examining the history of Persian painting, it becomes clear and more clear that Ferdowsi's Shahnameh has played a significant role in the formation of painting works, and in many aspects, the works of Persian painters are indebted to the epic poems of the Shahnameh. It seems that the Persian painter has turned the poems and meanings in the literature into visual elements and expressed them in this way. One of the prominent works in Persian painting is Baysunghur Shahnameh, which was illustrated during the time of Baysunghur Mirza. One of the most interesting pictures in this version is the picture of the Arjasb Being Killed in Roeen Castle by Esfandiar. It is necessary to examine painting works from the perspective of theories; therefore, the aim of the present study is to analyse this painting from a narratological point of view, and in this regard, it faces the question of how to analyse the narratological painting of Arjasb Being Killed in Roeen Castle by Esfandiar? The research method of the present study is descriptive-analytical. In this research, The Narratological Analysis of the Painting of Arjasb Being Killed in Roeen Castle by Esfandiar, has been investigated. Therefore, firstly, the approach of narratology is examined and then the work is analysed based on the structure of this theory. In this research, the information has been collected in a library and organized in order to answer the research question. Narratology is the study of the system governing narratives and revealing the internal relations and relationships governing the narrative. In the current study, the picture of Arjasb Being Killed in Roeen Castle by Esfandiar has been analysed. The mentioned painting includes the plot and characters such as Arjasb, Esfandiar and his sisters. Arjasb kidnaps Esfandiar's sisters using trickery and captures them in his palace. In order to save his sisters, Esfandiar disguises himself as a merchant and enters Arjasb’s Palace. After a fight with Arjasb, Esfandiar kills him and frees his sisters. Distinguishing between the text and the outside of the text is one of the fundamental principles of the analysis of narratives. In this regard, it is necessary to pay attention to these things: considering the material that constitutes the narrative, paying attention to the internal organization of the text and not outside the text (that is, the relationship between the text and its context) and answering the question, how does the text work? When the distinction between inside and outside of the text is considered, another distinction can be considered between the levels of analysis inside the text. This classification consists of the world of the story, the act of narration and the objectification of the text. The world of the story refers to the content. This content includes time and place, story, fictional characters, etc. In the painting in question, the plot is Esfandiar going to Roeen Castle, freeing his sisters and finally killing Arjasb. The main characters depicted in this work are Esfandiar, and his sisters. The place where the story takes place is Roeen Castle, where Esfandiar went to free his sisters from Arjasb. Based on the existence of multidimensional space in Persian painting, several different times are shown together in this work, which shows Esfandiar's entry into the palace to his battle with Arjasb and killing him. As it is seen in Persian painting, in this painting the subject is drawn from the top view angle and the painter has connected the outer and inner spaces with each other by using geometrical relationships and color. In this painting, relationships and geometric composition play a key role in unifying this work and influencing the audience. In fact, this feature can be seen in paintings with building elements, especially in the Herat school. As mentioned earlier, the main subject is depicted on the upper and right side, and because the main subject of this work is the killing of Arjasb by Esfandiar, the painter uses oblique lines to direct the audience's gaze to the main subject. With the use of diagonal lines that form the ruling lines of the painting, in addition to defining a suitable place for Esfandiar's two sisters in the work, the artist has given special importance to the main topic, the conflict between Esfandiar and Arjasb. It also shows the predominance of oblique composition due to the unstable position of Arjasb. While the painter has tried to show Esfandiar's firm determination by using the vertical doors that appear frequently. In this work, the type of use of the crossbars above the head acts as an arrow and directs the viewer's vision to the battle site. The chevron shape of each door (like the shape of a very elegant and innovative bridge) implicitly directs the viewer's eyes towards the climax of the incident (the battle scene). Each of the surfaces, while having complete purity and brevity, also carries its own appropriation of color and establishes a harmonious bond with each of the shapes placed next to and around it. The whole image is in balance with the subject and has mobility, and a unique combination of lines, patterns, colors and surfaces has been created in relation to an epic subject. The researches of Vladimir Propp and later Algirdas Julien Greimas had important achievements for the analysis of narratives. In this regard, we can mention the activist pattern. In the activist pattern, six cases are mentioned: the sending or stimulating actor, the receiving or benefiting actor, the active actor, the valuable object actor, the inhibiting actor and the helping actor. In this painting, Esfandiar is the active actor who takes action and goes to Arjasb’s Palace. Since the actor can also include an abstract word, the freedom of the Esfandiar’s sisters can be considered as a value object, which is the goal of the active actor. Also, the Esfandiar sisters themselves can be considered as receiving actors or beneficiaries who benefit from the active action of the actor. Also, Arjasb can be considered as an inhibiting agent, which is considered as a kind of obstacle for the active subject, namely Esfandiar. According to Propp, the definition of narrative is the change of an event from one part to another. He calls these changes events. In continuation of Propp's work, Greimas has tried to provide a simple and abstract model for the events. In these theories, the initial, middle and final part and the change and transformation formed around the destructive force, the dynamic element and the organising force are fixed. The first part of the narrative shown in this painting is Esfandiar's entry into Arjasb Palace. As it can be seen in the center of the image, the middle part includes the release of Esfandiar's sisters. Also, the last part of this picture, which is shown above and on the right, is the killing of Arjasb by Esfandiar. In this picture, the conflict between these two can be considered as an organising force. Also, the destructive force is not mentioned in this picture. Esfandiar’s going to the palace to rescue his sisters, who were captured by Arjasb, and the conflict between the two of them, which ultimately leads to Arjasb death by Esfandiar, is the plot of this work. The findings of the research indicate that the place of the narration is Roeen Castle, and due to the multidimensional space, several times can be seen in the work. Also, from the point of view of the actors’ model, it can be distinguished as active actor (Esfandiar), recipient actor (Esfandiar sisters), valuable object actor (Esfandiar sisters' freedom) and restraining actor (Arjasb). The sending actor and the helping actor are not seen in this image. In addition, we can mention about this work the initial situation: Esfandiar's going to the palace, the intermediate situation: freeing the sisters and the final situation of the conflict and killing of Arjasb. In addition, the battle of Esfandiar and Arjasb can be considered as an organizing force. In general, the picture of the killing of Arjasb in Roeen Castle by Esfandiar displays characteristics that provide the possibility of narratological analysis.

Historically, avant-garde artists have always used new technology, tools, and materials to express their vision. Currently, video mapping is a technology that, in terms of our time and the current media environment, may seem that digital culture and the framework of new media are its recent background, but video mapping has an older history. According to Paul Virilio, it is impossible to separate the history of visual display (from which video mapping is one of its new forms) from the history of artificial light, due to their technological affinity. Video mappings are one of the new and effective forms of environmental graphics in the city with a deep and old history. Simply, video mapping is a display of an image, movement and setting with sound and a specific concept in different aspects like cultural, social, advertising and amusement. Due to the importance of communication in modern cities, video mappings are so essential. Today, the use of urban video mapping to beautify and instill cultural, social, etc. concepts is considered a significant element in the development of modern technologies for society's communication, which quickly engages the audience in the message of the work and makes it last in the audience's mind. Unfortunately, the review of reliable articles and texts in domestic publications and books shows that no complete and specific research has done in Iran in the field of video mapping and their role and impact on environmental graphics and video mapping is a new topic in Iran. It is essential to better understand and research this matter in Iran according to the progress of this type of 3D specialization in the world and the increasingly progress of this technology. Based on the demand and necessity and considering the importance and impact of video mapping in the environmental graphics of modern cities, this research has addressed the issue of how video mapping in modern urban communication can be effective as an art and medium. It is a qualitative research wherein analytical and descriptive methods have been used. It tries to examine the effect of video mapping and its appearance in 21st century environmental graphics based on the Paul Virilio’s opinions and by reviewing reliable domestic and international sources and documents and searching on websites.Le Manovich is a French philosopher in the field of technology and art, as well as a media artist and digital culture theorist. He concluded that video mapping is a fundamental factor in the development of the industry and the culture of a high-performing society as well as a large audience in the world. Virilio considers the man's perception of the environment is a daily and pre-determined understanding and states that the horizon of the human vision makes his understanding of the environment. He refers to man's understanding of geometric and non -geometric shapes before recognizing that shape. Thus, he draws attention to the things that apparently don't exist, not to those that do. In his opinion, this attention to the aesthetics of visible and invisible causes the emergence of noble and valuable works. Manovich also considers a work with a beneficial effect on the environment and the individual as a valuable work that can be a cultural work with influential and significant consequences. The findings showed that, according to the daily interaction of the citizen with the urban environment, cities are one of the most substantial factors affecting the citizens. In the 21st century, video mapping (with its historical background) can be an effective media in the fields of culture, social, advertising, decorations and even be personal. For example, in architecture, especially the architecture of buildings, one of the main applications of video mapping is at night, that can be as considerable as at day. Virilio's theory invites people to observe spaces and negative spaces and anti-forms instead of forms and sizes, as well as positive space and form, and gives equal importance to them. Video mappings can also have an impactful use in the same way. Thus, Using the passive, physically active, or metaphysically functioning video mapping in cities can create a memorable and effective scene both at day and especially at night and attract not only present but also absent audiences from all over the world. In addition, in Manovich's opinion, the layers of the media are cultural and computerized, so in the cultural layer, so in the cultural layer, the computer layer affects culture and literature. Therefore, new arts like video mapping have an impact on our culture and environment, using it has a specific and positive effect on our lives and our surrounding environment.The interactive feature of video mapping is one of the most influencial and seminal features of video mapping in environmental graphics, which engages and interacts with the audience. Thus, the role of the audience is powerful and impressive in the video performance process. With further investigation, the video mapping usage divided into some pivotal groups like advertising, entertainment and recreational, educational, decorative, and thematic (personal) groups. The advertising is the most well-known area in this field. Corporate companies and reputable brands use video campaigns to reach a large audience at the venue and even outside the scope of the video campaign, where the audience is absent. We see more fun and entertainment in competitions, games and various events. Educational video mappings convey tips, messages, and lessons well to the audience and can also take on an interactive mode, which is more effective in didactic items. Decorative video mapping in environmental graphics gives a detailed and enjoyable look and effect to the space, especially the urban environment, and attracts the audience to this space. Also, there are a range of video mappings used as personal and thematic items in parties.As a result, using video mappings in different and diverse groups is one of the indicators of the improvement of urban spaces, and environmental graphics have a positive cultural and social impact on citizens and audiences. So, it is worth paying attention to and using in modern man's society.

In the history of ancient Iranians, two forces fought continuously. One is the power of light and brightness, which is the symbol of goodness and innocence, the other force of darkness that represents evil. The first force is the deity force and the second force is the demonic force. In many Iranian books, stories and legends, their idealistic battle can be seen. Among these works, Khavaran-nameh of Ibn Hesam is a valuable sample of the manuscripts of the Timurid period that was illustrated in the 9th century A. H. and it is one of the most prominent epic religious illustrated books which competently deals with the subject of good and its encounter with evil. What is important in this research is, how to make and to present the theme and narrative of the conflict between good and evil in the paintings of this original and surprising manuscript. The basis of this research will be based on historical, descriptive and analytical research, which is the collection of information in the library method and the description and visual analysis of the selected paintings is done by using the presented paintings based on the data matching and the results obtained from them.

‎Khavaran-nameh:

The manuscript of Khavaran-Nameh is an epic poem in which the legends and imaginary stories and the scenes of the fight and conflict of Imam Ali with demons and dragons and his bravery in battle and encountering legendary creatures and also the kings in the land of the East has been written. Among the Shiite, gradually, stories about Imam Ali have emerged, some of which are based on historical events, that is, his wars during the life of prophet Mohammad and during his caliphate and bravery. But steadily, story elements have been added to them. Some other stories are generally far from historical truth and are pure legends which gradually emerged among the people of Iran due to the strong sincerity of this people towards Imam Ali (A. S.) and his inclusion in the ranks of national heroes. Like the story of his heroic deeds in the land of East, which we see in Khavaran-nameh. The oldest and most exquisite illustrated manuscript of Khavaran-nameh that has survived from past centuries, a very exquisite and valuable version, which fortunately is now kept in the Golestan Palace Museum in Tehran. This manuscript was illustrated in the city of Shiraz under the support of the Turkmens which was written by Mohammad Ibn Hesam-addin Khosfi Birjandi, known as Ibn-Hesam, in 22500 verses and in imitation of Ferdowsi's Shahnameh in the year 830 A. H. and according to researchers, it is the last important and remarkable imitation of Ferdowsi's Shahnameh.

Painting of Imam Ali in the Battle with the Dragon:

This picture shows Imam Ali fighting with a dragon on a high hill. Imam Ali riding Doldol (his horse) with aura of fire around his head in the center of the image and the dragon can be seen under the feet of Doldol with its snake-shape body which extends from the bottom right to the left of the frame. Imam Ali that is riding Doldol, is galloping, holding the rein of Doldol with his left hand to control him and on the other hand, he hits the dragon's head with his right hand, which holds Zulfiqar. The dragon opens its mouth and screams in pain, and blood gushes from its head and face. Doldol, whose body is painted in pink color, has opened his four arms and legs and is galloping and his left hand has passed over the dragon's body, which somehow tells about his mastery over the dragon. In this painting, Imam Ali is shown in maximum dominance and power and he holds the reins of Doldol with one hand and guides it and with his other hand, he hits the dragon's head with Zulfiqar.

Painting of Imam Ali in Battle with Legendary Creatures:

In several paintings of Golestan palace paintings Imam Ali has been shown fighting with mythical and unreal creatures, among which the discussed painting is interesting and spectacular. In this painting, Imam Ali is riding Doldol in the center of the frame encircled by many strange and unreal creatures that are attacking and fighting him. These creatures, that have different faces, have been depicted in different postures; some of them are throwing stones and some of them are trying to attack Imam Ali or defend themselves with stick or mace in their hands. In this painting like most of the paintings in this manuscript Imam Ali can be seen with aura of fire around his head. He is riding on Doldol with a luxurious and blue clothe and is fighting with these imaginary and legendary creatures. He holds the rein of Doldol with one hand and with the other hand hits the head and the body of one of these creatures and spills their blood by Zulfiqar.

Painting of Imam Ali and Malik in a Strange Place:

This painting is one of the few painting of Khavaran-nameh that shows Imam Ali inside a building and a closed space and not in an open space. The identity of this place is unclear as the title of the painting suggests and it is only a place for the meeting of the Imam Ali with two animals, one of which is a lion and the other is an imaginary and unreal creature that have appeared in this place. Here, Imam Ali, unlike the previous paintings that was in the scene of battle, is neither riding on a horse nor holding Zulfikar in his hand; He has gone to confront those two beasts with the mace in his hand. Imam Ali still has strength and greatness even on foot and without sitting on a horse. He with an aura of fire on his head, with his left hand, he brings down the mace on the head of the wretched legendary creature, and blood flows down the beast's head and face.

The Confrontation between Good and Evil:

Usually, the element of contradiction and contrast has a prominent role in the creation of narrative and generally, it is considered one of the prominent elements of illustration and it enriches the subject and literary text, as well as it adds to the beauty and charm of the event and narrative in different ways. It also provides a suitable platform for creating a sense of suspense and excitement as well as increase attractiveness. The main part of Khavaran-Nameh is the battles and bravery of Imam Ali in the battlefields. Imam Ali, who has mythological aspects, is a symbol of goodness and all the good things that confront the creatures which are the symbol of corruption and evil. As mentioned, demons and mythical creatures are symbols of evil. The dragon is a legendary monster in the form of a reptile with wide wings and terrifying claws and teeth, and most of the time flames come out of its mouth and some people says his mouth is like the gate of hell by that reflect the depth of ugliness and abnormality. So the dragon is a symbol of demonic forces that try to destroy the good world and in Persian literature, it has been introduced as a manifestation of evil, ugliness and filth against gods and angels. on the other hand, Zulfiqar is the only forked sword and has miraculous power, it is one of the good symbols which Imam Ali fight dragons and other legendary creatures with.

Therefore, what can be seen from the text of the narrations and stories of Khavaran-nameh, the subject of the paintings is the conflict between the two powers of good and evil and it shows that Ali is the symbol of an ideal and epic human being, which is shown as a great hero in the vast scene of the battle of good and evil; and as a champion and warrior who is the epitome of goodness, sacrifice and bravery, he stands up against the world where evil forces live and protects people from misguidance, darkness and temptation of devils and demonic forces and guides them to happiness and eternal paradise.  In fact, the correctness of these historical narratives was not the aim and according to the people of the past time, the dragons and other legendary and imaginary creatures in these stories were considered to be definite and unquestionable facts that were symbols of evil that had to be destroyed. In other words, the writers of the Khavaran-nameh, by adding reality to their legends, in addition to getting closer to the gods, are seeking to establish their own ideal world in which there will be no evil and demons, and all of them will be destroyed by the powers of good and truth.

A self-taught artist creates works away from cultural and educational pressures and their works are free from complex techniques. These works are considered a quick reaction of their creators' spirit and a perfect example of artistic originality; because of that in recent decades, self-taught art has been noticed in the Art world. The wonder of self-taught artists' paintings is that they are both unique and very similar at the same time. Therefore, many of their structural characteristics and values are common. On the other hand, part of the uniqueness of individual characters is caused by the indirect recognition of the culture that leads to diverse themes and forms in these works. Teju Ben is a self-taught Indian artist whose paintings are similar to other self-taught painters in terms of simplicity expression, and at the same time, they also have differences that make them unique. One of the common structural features in the works of self-taught artists is "transparency", which manifests in different ways. On the other hand, it seems that environmental and cultural influences have a significant role in the diversity of these works. This research aims to investigate how transparency and Indian visual culture appear in Teju Ben's paintings. The questions are: "In what ways has transparency been manifested in Teju Ben's paintings?", and "How the Indian visual culture has influenced Teju Ben's paintings?". This study is a qualitative research that has been done by the descriptive-analytical method. Its information has been collected by the library method and observational tool. Finally, the questions were answered in a qualitative way by analyzing the collected information and describing some works of Tajo Ben. Self-taught art can be considered "Raw Art" or "Outsider Art". "This art is different from folk art, which is created based on traditions and in relation to the culture of the society, and from simple painterly art, because it is original and spontaneous" (Benedetti, 2008: 113-114). And "most of these artists have created such works incognizant of the Western art’s well-known basic form and logic" (Cardinal, 1972: 55). "The self-taught artist is not described in terms such as psychopathology or unbridled creativity, instead they are recognized as "ordinary human beings" who depict culture from a unique perspective." (Russell, 2011:19). Imitation or re-creation has little role in these works and their creators depict everything. The subjects, choice of materials and ways of transmission, rhythm, method of execution, etc., are completely personal and do not borrow from any artistic tradition, whether classical or contemporary art (Dubuffet, 1973). Studying the biographies and works of these artists shows many commonalities that can be considered as characteristics of self-taught artists. These features include: They have not been educated in any kind of art, by any means, neither class nor books or movies. They have never had a predetermined plan to become an artist and they have no desire to be called one. They usually start creating artwork at an advanced age, and after an unfortunate and shocking event that happened to them. After making artwork, they realize that it helps to feel better. Not the result of the work, but The process of creation is important for them. Canvas is not a necessary tool, because their materials and tools are always available for them, such as boards, cardboard, paper, boxes, and walls. Usually, these people keep their work hidden, it has even been seen in some cases that they destroy their work after finishing. Self-taught artists are accidentally discovered and introduced by another person who is usually a trained artist.   Transparency is one of the most interesting common features between children's and self-taught paintings, which represents everything they are aware of, even if they are not visible. Freeman and Janikoun (1972) in their research on children's drawings point to two types of Transparency. The first one is depicting things that exist, but cannot be seen, and the second is that shapes are not hidden behind each other. There is a distinct type of dealing with the subject in the paintings of self-taught artist, where he/she simultaneously depicts the outside and inside of persons and objects. This is similar to the children's drawing, which is called transparency or X-ray. Of course, transparency is not only limited to showing the internal contents but also includes all parts of the image, so that the different and hidden parts are drawn completely. Transparency is the result of drawing shapes and subjects by the mind. A similar vision can be seen in traditional Indian paintings. Transparency is a fundamental element in all of Teju’s paintings and the structure of her drawings remains the same, regardless of the tools she uses. In her works, both types of transparency can be seen. She draws inside and outside of houses at the same time, and nothing is hidden from vision.  Not to comply perspective rules and the integrated view are manifestations of transparency, which puts all the existing elements in front of the viewer's eyes. The unique, powerful, and stimulating works of Tajo Ben express the innate human desire of creating. Teju often portrays herself in her works and takes direct inspiration from things around her, like home, children, and even Hindu thoughts. The system of vision, the structure of the mind, matters related to the social environment, family conditions, growth, and even inheritance play a decisive role in forming the final artwork. The mental activity of the artist does not end here, throughout the creation of the artwork, he/she continues him/her active and creative movement. With every new event that occurs in the process of creating the work, he/she thinks of a new plan that is in sync with each other. The objective manifestations provide the necessary coordination and synchronicity and do not neglect the activity, discovery, and finding the appropriate and coordinated solution until obtaining the necessary result that satisfies (Shamili and Kateb, 2018). The effects of visual culture in Teju's works are very diverse, from the type of patterns on Indian fabrics and the shape of clothes to religious symbols, folk heroes, the rhythm of rural life, and impressions of the past that they have understood with their existence. All of them are present everywhere in her paintings and drawings and they are complex factors that have shaped her cultural identity and visual vision. The presence of gods and their role in the life of Hindus is very important, and a huge part of Indian religious art is devoted to the embodiment of these gods. Surely, religious statues and images impress Teju's mind, so in her paintings, popular Hindu gods have been depicted with a personal perspective. The signs and effects of Indian visual culture in Teju's works are not limited to religious forms. Everything in the culture and geography of India where Teju's life has formed, are considered signs of visual culture, including Houses and vehicles. The visual culture of India is full of small and large patterns that cover entire surfaces, from fabric patterns to traditional paintings, where there is hardly any empty space. This filling of surfaces, which has a decorative aspect, is truly visible in Teju's works. She fills the entire surface of her works with patterns and punctuation. This makes the parts that have been kept white and plain, not to be considered as an empty or negative space, but they are full of energy, and also show specific forms. Teju Ben's works are derived from her deep insight to the surrounding world and the events she has experienced in her life. Similar to other self-taught artists, due to her lack of awareness of the laws of depth perception and mental attention to the subject, she naturally and intuitively uses methods for drawing shapes and composition. Transparency in her paintings is the result of such a function, which is why when the outside and the inside of the house are important to her, she draws both at the same time, and all the shapes are clearly seen. She draws what is closer on the bottom and what is further away, on the top of the page, without blocking each other, and in this way, she makes the best use of the two-dimensional paper space and gives a complete view of the event. She puts her sight in front of the audience's eyes. Therefore, in her works, there are two types of transparency, inner and stepped. The conducted studies show that Indian visual culture has had an undeniable impact on her works and given them a special identity. From dotted decorations to images of Hindu gods or women astronauts and buildings and trains, all are reasons to prove that the environment, customs, and everything that the self-taught artist, Teju Ben, lives in that, appears in her works.