نشریه هنرهای کاربردی
سال دوم شماره 1 (بهار 1401)

In his theoretical and personal approach, Hannibal al-Khaz has tended to express in its general sense or a range of expressionism (as a style), symbolism and neo-realism. He creates new works of art with mythological features by adapting ancient stories and myths or by changing the fundamental themes of myths and historical elements. Due to his belonging to the Assyrian culture, Hannibal Al-Khaz has always tried to use the artistic heritage of his people in a modern format and at the same time, use different Iranian and Western sources and schools in his work. Intertextual thinkers, by introducing a new understanding of the concept of text, presented the achievement that no text is self-sufficient and that any text at the same time will be both an intertext of earlier texts and an intertext for later texts. With the expansion of the concept of text, texts other than writing, such as the visual arts and painting, are considered as text. Because contemporary painting constantly relies on recognizable images from past classical paintings. The question that arises is what is the intertextual reading of special paintings and the role of themes in the meaning of special works? In the present article, the descriptive-analytical method and in particular the interpretation of intertextuality by Julia Kristova and Roland Barthes have been used to read the paintings. The results of this research show that special paintings have a kind of figurative narration and different themes taken from previous texts based on a face-to-face relationship form the text of the work. Numerous themes in these works have produced implicit meanings due to the interaction and intertextual relations, and these meanings have been different in each reading, which is the meaning of Barthes. These visual themes, along with their special style, narrate semantics such as inducing a sense of anxiety and worry about fate with the passage of history and the change of religions and cultures in the contemporary era

The history of clothing is a part of Iranian culture and civilization that can be considered and analyzed in all historical periods. Covering the whole body has been quite common in all historical periods of ancient Iran. One of these covers is the head covering, or in other words, the cap. Cultural roots can be found based on archaeological data. According to this evidence, in ancient Iran, women in different historical periods as well as different social classes wore chadors or other forms of head covering such as hats or headscarves. And covering the head has been a common culture among both women and men. In the present study, the women's cap of the ancient Elam has been studied and analyzed in comparison with the women's cap of this region in the contemporary period. The purpose of this study is to investigate the origins and antiquity of this type of head covering based on archaeological data. This article tries to answer the question of what connection can be found between the common head covering on women in the western region of Iran and archaeological data from the Elamite period in this region. The results of the study indicate that the use of caps among women in this area has a history of five thousand years and the samples studied in this study are similar to some of the current types of caps. In the present paper, data collection has been done through library studies and the results have been presented through historical descriptive analysis.

In the West, from the middle of the 20th century onwards, with the removal of the suffix "Ism" from the titles of various art branches and the addition of the suffix "Art" to them, a clear boundary between visual arts, performing arts, music, etc. Transition and "new arts" is a general title to explain this part of art history with the mentioned characteristics. In the new arts, on the one hand, with the use of new technologies, new branches and forms of art have emerged, and on the other hand, the media through the publication of works of art and communication between artists and audiences in social networks, on the world. Art has been influential. The widespread dominance of media in human life has led to the insatiable effort of humans to consume and be consumed by the media. Therefore, the new arts and the media of the communication age are connected to each other. In this article, with the aim of opening a new window for the reading and understanding of contemporary artistic trends by adapting Baudrillard's theories to new arts, an attempt has been made to answer the question that the relationship between media and new arts from the perspective of form How can the capture of hidden aesthetic discourses, the dominance of the media through hyperreality and meaninglessness, and the mechanisms of the capitalist system over the world of art be formulated? In this regard, by using the descriptive-analytical method, the fundamental issues raised in the theory of Jean Baudrillard regarding the media have been used. The results of this research showed that in this formed paradigm, the concepts proposed by Baudrillard can also be seen in new works of art; Especially when new arts appear as a medium. Baudrillard's discussion about the collapse of two opposite poles and as a result reaching a meaningless world that this situation neutralizes any element of rebellion and rebellion and makes criticism impossible, although it was raised in a political context, but it shows some trends. In the current of new arts, it can be studied and analyzed based on this theory.

No work is created spontaneously, but always has signs and features of the presence of pervasive patterns in its interior that have been effective in its formation. Many visual works that appear next to a written text, in addition to preconceptions of previous visual examples, take many of their creative aspects from the textual features they belong to. In this context, the way the written text is performed can also affect the visual text itself. Investigating these connections, which are interpreted as intertextual studies in the field of art and literature, is a suitable method to understand the intertextual relationship between two written and visual systems in a work. In this book, whose writing and images were created together and in a special solidarity and with a local and regional approach, it is one of the works that has been studied many times in terms of the theme and type of illustration And its image characteristics have been reviewed and expressed from different aspects but there are still uncertainties in its exact recognition. There is text and image. This makes it necessary to carry out this research, so that assuming that the text and image of Qabusnameh were created by the same person, to match its two written and visual systems and to evaluate their commonalities with each other with the aim of achieving a single discourse. In this process, the multitextual method is used as a subset of Genet's extensive studies called Transtextuality. And the result of this structural affinity indicates that many creative aspects in writing and image are similar.And the deep similarity between them indicates that the work is local and social in terms of the unity of the calligrapher and illustrator and the unity of the artistic style, without the restrictions imposed by the artistic patron.

Coins are engraved metals that are similar to a book full of historical, cultural, religious, and mythological information that can survey their motifs through symbolism. Therefore, studying the images and symbols on them opens a window to ancient periods for researchers. The Parthians (Arsacid) is one of the most important periods of ancient Iran. due to their long reign, they minted many coins with various motifs. The aim of this study is identifying the symbols of Mehr (Mithras) in the Parthian drachma coins of Ekbatan mint, to be revealed the religious belief of the rulers of this period. This research has been done in a descriptive-analytical method with an iconographic approach, which is a method of collecting information and data based on library and museum studies. The statistical society consists, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution. The results show, according to Zoroastrian religious texts, the motifs that symbolize Mithras are: Bow, Rosette, Flag, Ring, Bird, Star and Moon. Parthian Kings have used these symbols since the beginning of their reign which is caused by their being warriors and nomads. Symbols of Mithras increase during the reign of Mithradase II to Artabanos II (121 BC- 38 AD), Its probably caused by the increase of their power in the region and from the reign Vologases I to the end of the period, the symbols of Mehr are removed from the drachmas, on the king's hat can be seen deer antler symbol which originates from the nomadic traditions of Central Asia. Considering that Parthian kings were liberal in religious matters. they did not have an official religion but mostly they have used Mehr(Mithra) symbols in the drachmas.

The decisive moment is the theory of aesthetic by Henry Cartier Bresson which is published in 1952 by the publication of the book by the same title. intuition and perception is the Buddhism doctrine so Bresson by the publishing the pictorial book could worst and widespread the concept of the decisive moment. In this theory Bresson believes by the event for taking a picture and be located in the center of the incident. In this events all the rhythms of structure would get the same shape and if the photographer could discover this moment would be able to apperceive the decisive moment. The method of doing this research is descriptive and library and is willing to reach the exact concept of decisive moment and review the variety of agents that influenced Bresson attitude. The result of research claims that the factors such as surrealism, film making, Andre Kertsz attitude were very effective and especially the Buddhism doctrine was the main source of the decisive moment which is taken from Ekaksana interpreted as immortal present moment.The decisive moment is the theory of aesthetic by Henry Cartier Bresson which is published in 1952 by the publication of the book by the same title. intuition and perception is the Buddhism doctrine so Bresson by the publishing the pictorial book could worst and widespread the concept of the decisive moment. In this theory Bresson believes by the event for taking a picture and be located in the center of the incident. In this events all the rhythms of structure would get the same shape and if the photographer could discover this moment would be able to apperceive the decisive moment. The method of doing this research is descriptive and library and is willing to reach the exact concept of decisive moment and review the variety of agents that influenced Bresson attitude. The result of research claims that the factors such as surrealism, film making, Andre Kertsz attitude were very effective and especially the Buddhism doctrine was the main source of the decisive moment which is taken from Ekaksana interpreted as immortal present moment.