مجله رهپویه هنر
سال ششم شماره 2 (پیاپی 19، تابستان 1402)

Pottery is one of the most common Iranian arts that has always been the manifestation of various decorations by various designs. Themes in the art of pottery express themes and concepts, which ceramists have used as a platform to express their thoughts, beliefs, culture, etc. One of these themes that is common in pottery of every period and has been used many times is the theme of fish. Fish is one of the original themes that has been used in Iranian art before and after Islam as a decorative theme and according to the beliefs of the people works as a symbolic theme in various arts such as carpets, pottery and textiles, etc. By analyzing each of these valuable artistic elements, one can understand the culture, civilization, mentality, etc. of these people. Although, this role may have changed during various times and periods due to different cultural, religious, social, etc. reasons, and sometimes with a natural form and structure, and sometimes in an abstract form. Nevertheless, it has not lost its main place and has always been used as a main and secondary them in decorating works (textiles, metals, carpets, pottery, etc.). Pottery is one of the arts that is often decorated with fish. In general, a large number of pottery from the Islamic period of Iran are painted with fish. In some of these potteries, the role of fish is the main subject of the work and in some others it plays a role as complementary theme. In both cases, this theme appears in various forms, structures, compositions and has created a beautiful reflection on these works. In this study, we try to examine the fish theme visually (composition, structure and form) according to the existing images, which leads us to the introduction and recognition of fish theme in dishes and understanding of types of composition, structure, form, etc. Now these are the questions What is the role of fish in Iranian pottery in terms of composition and structure? What is the appearance and position of fish in these potteries? This research has been formed with a descriptive-analytical approach and with reference to library and internet resources. By non-probabilistic sampling method, 30 samples of pottery with fish motifs belonging to the 6th to 14th centuries AH  were elected from foreign museums and collections such as Lakma Museum, Boston Museum of Art, Brooklyn, Harvard Art, Victoria and Albert London, Louvre, David Collection and Islamic art books, Then, in tables with linear examples, the types of composition, their structure and form are studied and the results are given so their properties can be analyzed.    The results of this study show that the fish theme is very rich and widely used in different forms and designs, which shows its visual power and high value. Spatialization of the fish design is so that it sometimes can be used as a decorative element in the form of a single theme or sometimes with other themes in different locations of the picture (center, corner, whole,…) depending on artist’s purpose. According to the research and analysis based on the existing samples of pottery with fish theme from the 6th to 14th century AH, they can be divided into five types of compositions. The fish theme is depicted in five types of index compositions (1/4, circular, horizontal, spiral, vertical).1.The 1/4 composition: is seen with a few fishes often on the corner and the bottom of the image. 2.The circular composition: in the center, whole or part of the image with the number of two or more fish is displayed. 3.The horizontal composition: The fish themes along with other themes (the subject of Iranian old stories) at the bottom of the second half of the image are shown rotating from left to right. 4.Spiral composition: Covering the entire space, they are seen moving and spinning on the spiral arch from inside to outside or vice versa. 5.Vertical composition: It is displayed linearly and statically.The obtained structure shows that no division has been made about this theme, and this theme has the ability to place and spatialization in different locations of the image with various number. The form used in most samples is close to reality and its lightness, softness, flexibility, and movement direction is used to move with or without the appearance (scales, wings, mouth, eyes) and is completely abstracted in various forms. Everything indicates that there is no limit to the drawing, numbering, and placement of this theme in the natural or abstract state in all periods..

The human body has been one of the most challenging subjects for artists from the distant past until now. In contemporary art, the artists have exploited the subject of the body to express their critical approaches to social and cultural phenomena for the purpose of having greater impact on their audience. Hence, when the subject of the body appears in a grotesque form, a new representation of the body appears, which is against the usual conventions. According to Aristotle’s (in ancient Greece) view of the human body, a body is “healthy and harmonious” as long as all of its parts have measurable values. This theory has continued to the present day to the extent that in Georges Bataille’s view, the human body (the specific form of the human body) has a metaphysical dimension (similar to the conception of the human body in ancient Greece). There is harmony in such a body and each number has been defined in harmony with the other members as well as the whole body (Thomson, 1972: 11). Regarding the terminology of grotesque, Adams writes: “The word grotesque entered our language with the discovery of some unusual images in the underground corridors. Because they were discovered in the buried tunnels of palace halls and later in other locations removed from Rome, such as Pompeii, they were identified as works from the caves or grottoes, for the passages were cavelike in their dark, subterranean world.” (Adams, 2016: 7). According to what was discussed, the ideal body is one in which all parts are in harmony. When this harmony is disturbed in any way, the expressive rules of the body are challenged. This challenge is the purpose of the grotesque expression. Grotesque, as a method in visual arts, expresses the hidden and dark side of humanity. With this regard, grotesque seemed very controversial from the beginning, as it was anathema to classical ideas, opinions, and even aesthetics. This controversial feature in grotesque made it become a motif in the hands of artists in different eras. Different artists around the world including Leonardo da Vinci (Italy), Annibale Caracci (Italy), Salvador Dali (Spain), Zdislav Beksiński (Poland), and Francis Bacon (England) used this motif in their works. This geographical and temporal vastness in the use of grotesque can be indicative of the power of this method to respond to the society of each artist through a critical approach. There is also evidence of the presence of this method in Iranian art. The background of this goes back to the paintings of Muhammad Siah Qalam (second half of the 9th century AH) (Azhand, 2007: 269). After that and with the beginning of the modern period, following the Western experiences, the writers initially took refuge in the safety zone of grotesque, and it was noticed by Iranian painters later. They (both painters and writers) made use of a more modern level of grotesque in their works than before. In this period, in the West, artists rejected realism and embraced surrealism or magical realism through a critical approach (especially in expressing the human body); Therefore, certainty disappeared and doubts and questions took its place. It is in such a world that the expression of grotesque was re-emphasized as a mode of performance (Imami and Kamrani, 2019: 22). Parallel to this period, attention to the capabilities of the grotesque expression in the human body grasps the attention of the artists such as Bahman and Ardeshir Mohasses in Iran (Mozaffarnezhad, 2015: 161). After the Islamic Revolution, due to the emphasis on the individuality of the artist and the sociological view, the attention to the human body increased, and the art of portraiture was revived again. Accordingly, the revival of portraiture came with a more challenging expression in which exaggeration, fall, non-human elements, and nightmarish images took the place of visual reality. Mehrnoosh Badpar, a contemporary Iranian artist, is one of the artists who has used this expression to design her works. Therefore, by examining the grotesque elements in her works, the present research aims to examine whether the expression of grotesque in these works seeks to make realistic the image of a nightmare, or does it intend to make a moment of reality look different? This research aims to examine the effects of the grotesque elements on the artist’s expression and its challenging effects on the audience. Since simple and straightforward expression may not have an impact on the audience’s critical approach in today’s world, examining the grotesque elements and studying them can offer more effective solutions to artists to create works.

The tendency to beautify and beautify the desire to display beauty is one of the natural and innate tendencies of man, which from the beginning of life until now, man has always paid serious attention to it. Jewelry is one of the most important tools and elements of beauty, especially for women. Actually, the use of jewelry is a manifestation of beauty that has a serious presence in contemporary life compared to the past. in such a way that today the art-industry of jewelry making and production of all kinds of jewelry is considered one of the profitable and favored industries along with countless brands. in this art-industry, in addition to the quality of the material and its quality, "the form, design and body of the parts" is one of the most important components and indicators in the choice and favor of customers. therefore, the design and creation of popular forms and designs is one of the constant concerns of producers and one of the influential factors in the ups and downs of this field. designing jewelry is one of the prominent professions and important global skills in the world of beauty, grooming and business. Success in design requires having a certain amount of artistic and visual knowledge and skills, visual literacy, creativity and innovation, and more importantly, nobility in recognizing the visual and value-oriented treasures of the past and the knowledge of native art, which is the source is a fountain of ideas and creativity in designing, redesigning and producing modern works of art, especially ornaments and jewelry. in addition to the design and form, decoration and engraving of jewelry pieces is also of particular importance.directly exploiting or taking as a model the motifs and paintings of the native arts of Iran, such as hand-woven carpets in the design of ornaments, is one of the creative and innovative methods in creating ideas and creating original and eye-catching designs.from this point of view, the exquisite and original Farahan carpets that are kept in the Claremont collection are one of the valuable systems and rich resources in the design, redesign and production of contemporary works of art, which can lead to two desirable approaches: first, the preservation and introduction of Farahan carpets and their motifs as a component of identity and artistic heritage, and secondly, the use and application of patterns and paintings of this type of art in the formation and production of works and luxury and capital goods such as ornaments and jewelry. focusing on beauty and striving for beauty is one of the most important aspects of a person's life, which has been a kind of value, merit and necessity to be considered from the past until now. hence, the making of classical ornaments and jewels and artistic rhinestones is a strain of indigenous and contemporary art and knowledge, which is considered one of the most important arts and crafts. in the process of producing all kinds of decorative ornaments and original jewelry, important components are always considered by the designer, which include: the use of materials and the quality of construction, the design of the shape and drawing of the initial body and the shaping of the structure of the work, as well as the patterning and decoration of the ornaments. meanwhile, the design and creation of the shape and volume of all kinds of jewelry has a significant contribution to its success and acceptance by consumers and customers. on the other hand, the creative and innovative use and patterning of all kinds of motifs and patterns in traditional and native arts, such as the luxurious classical Iranian carpets, is a value-oriented look in the field of artistic productions and a new step in spreading this desirable attitude. for this reason, the main question of this research is how to use the treasure of Farahan carpet patterns in the design of today's ornaments and jewelry? therefore, the preservation and introduction of the exquisite Farahan carpets and their motifs as part of the artistic identity of this region in the form of their application and use in the design and production of various works of art is the aim of this research. this research is of applied type and descriptive-analytical research method. The method of data collection was in the form of a library and search in the sites of valid collections.

A Trace of power concept has appearance in all Foucault’s thoughts and works. Whether in forms related to shapes in artworks or in relationships between social classes, even in the verbal communications between individuals in a community, which occurs in different way we could see the effects of this theory especially through 20th century thoughts. The discourse of power is the prevailing speech and reading of the era, which the ruling system tries to establish and propagate, which gradually becomes the truth and view accepted by the society, and sometimes it is even recorded in history in this way. Foucault deals with the self-made term “Heterotopia”, that means elsewhere (other - space) and uses it for analyzing power relationships in the field of guidance of places and to reach interconnected spaces and to expand power more and more. Heterotopias in the form of a psychological perception in such a way that it is perceived as illusory, strange, dreamlike and otherworldly, are manifested in works of art and have induced and imposed their sensory-emotional effects on the audience like the discourse of power. They force and inevitably accept and influence. On the other hand, Achaemenid’s bas-reliefs that have been made by king’s order create different atmosphere, like a picture of truth production and spread power. Hence, the present study aiming to understand more about the impact of prominent roles as agents of power dissemination and the influential phenomena in the socio-political relations of his era. In order to consider this important concept, this question began that how can Achaemenes’s bas-reliefs, be read as a Foucault’s heterotopia? And then by using the documental method for the data were collected by using descriptive – analytical and historical method, it was concluded that these works, given the effective role in shaping the truth and propagating the ruling system in their time. These images could have afforded to make an impressive heterotopia in term of using the features as: level composition, symbolic expression, usage of compound animals, depicting God, showing king as an extra human. As far as we know the meaning of discourse, which in other words is the dominant speech, is a set of positive or negative unwritten rules, that is, it accepts some things and rejects others, and specifies what things can be talked about or not, we could totally comprehend the importance of the Bas- Reliefs for the rulers. Actually, these images functioned as a visual constitution that the common people was bound to understand and implement all those laws by viewing them. As expected from the discourse, there are the actions that shape the subjects that are supposed to speak for themselves. Therefore, discourses can be seen as imposing the type of thinking that this imposition of thinking can actually create reality. Achaemenid thought considered the "king" as a symbol of the nation and civilization, and therefore everything revolved around his character in the art of this era. Achaemenid reliefs are considered as a noble and important art in the ancient times with today's definition and view of art. Therefore, the Achaemenid reliefs were placed like a political propaganda board in the palaces of the kings, temples, tombs and also on the international highways for two purposes, as a religious and ritual art and also for the purpose of telling stories of victories or narrating the bravery and godliness of the king or his position as God's representative on earth. By looking carefully at the Achaemenid decorations, we see the realization of the Achaemenid ideals to create a transcendent and different space from everyday life. Hetropia, which has been realized by creating calculated and regular works. Perhaps it can be said that the use of Sefa to glorify this space and also to maintain parallelism in the composition in order to create balance and order refers us to the other places that have been realized in the reliefs. Therefore, the visual grandeur and mathematical order in Achaemenid works, while giving the works an aesthetic aspect, can be used as a tool to realize the creation of a space different from the surrounding world. These works have special formal and spatial qualities, which can be considered both imaginary and real, which is the principle that Foucault holds for heterotopias. Therefore, the prominent role in producing and stabilizing the discourse approved by the power, as it is considered by the ruling system in order to create the truth created by the era, has played an important role. consequently, these images had the ability to create the heteropiase and heteropiability

Seeing uncolored and the emergence of the black and white photo universe, from the beginning, created important changes in the quality of perception and understanding of the fundamental concepts of "Human, Existence and Time". One of the most important developments that emerged due to the technical limitations of photography was the issue of "absence of color" in this new visual field. This change in the beginning turned the real world of colors into the dark and colorless universe of photos. A change that continued as a dominant and valid approach in the field of photography even after the removal of technical obstacles. The development of the black and white universe of photography led the transformative view of this field to other quality and aesthetic principles, which resulted in the degradation of the position of color in various fields of creation, reading and theory of photography. In this way, the "skepticism" that began to dominate the mental world and the history of human culture before the advent of photography, turned into a "phenomenal doubt" by the continuation of the "absence of color in the universe of photographs".  For this reason, due to the development of "colorless vision" and "hiding the element of beauty in the program of the 20th century photography apparatus", and also due to the importance of the discussion of color as one of the topics that can be pursued in the practical and theoretical interactions of photography, in In this research, we are trying to develop and recreate the Iranian position of color in the field of photography by referring to the beauty-creating, meaning-creating and perception-giving ability of color in Iranian culture and art. The present article is a fundamental research in a descriptive-analytical method in which we try to look at the field of Iranian visual art and culture as an "expanded field" with the ability to "expand", which is due to the independent visual system and the benefit of Its special structural capabilities makes it possible to expand some of its features and visual components in the field of photography. On the other hand, we look at photography as a field with the ability of "expandability", which due to its inherent and structural features, can revive many themes (form, content and theme) of Iranian art. For this purpose, in the present article, we will first discuss the reason for the absence of color in the early photographs and the continuation of the seeing uncolored in photography, and then we will explain the intellectual and theoretical foundations of the development of black and white photography, and finally, we try to expand this formative view-point in the field of photography by explaining the quality of the beauty-creating, meaning-creating and perception-giving presence of color in Iranian visual art. The issue of using color in photography, rather than being related to the color factor, is related to the lasting and unconscious effects that black and white photography has created in the minds and actions of activists in this field. But unlike the "representational hegemony" that considers the black and white state of the photo more valid than the color, the depth of the Iranian view-point, on the one hand, sees color as the cause of creating a "feeling of beauty" and on the other hand, it is the cause of creating different levels of perception (visual, cognitive and reasoning) and in order to strengthen the unrealistic function of color, he introduces the factor of light as the main correlate of color in the image creation process. In this way, it can be said that today's photography more than ever needs to overcome the dominant attitude that, due to the tradition of monochrome and black and white photography, has affected different parts of photography and important changes in the quality of our knowledge and analysis compared to three created the fundamental concept of "man, existence and time". But despite the occurrence of such a change, it seems that by recreating the Iranian position of color, it is possible to realize the following five strategic achievements in the field of photography: Restoring the concept of beauty as a hidden element of the 20th century program of the photographic apparatus; 2. Creating meaning and strengthening the unreality of color through the properties of brightness, saturation and variety of colors; 3. improving the levels of visual, cognitive and reasoning perception; Due to the qualitative correlation of color and light; 4. Realization of intra-thematic capabilities (form, content, narrative, thematic, thematic, conceptual) in the photo and 5. Dominant reading instead of interactive and confrontational reading.

The SCAMPER model or "idea-provoking questions" was presented by A. F. Osborn for ways of forming critical thinking. SCAMPER is an abbreviation of seven creative idea generation methods which are adopted from the first letters of the words "Substitute", "Combine", "Adapt", "Modify", "Put to another use", "Eliminate" and "Reverse".In the method of substitute, the idea maker tries to get new ideas by asking questions such as what can be replaced and what part can be replaced.Based on the method of combination, the idea maker achieves a new thing by combining two products, two functions or two previously unrelated goals.The method of adaptation seeks to adapt and adapt similar cases that have existed in other fields, and typical questions of this method are "What can we make this look like?"According to the method of modification, the idea maker seeks something better by enhancing, multiplying, increasing the quantity or quality of the product, or ancillary services. A typical question of this method is "by strengthening or multiplying which part of the product can reach the optimal limit?""Put to another use" is one of the basic and important methods in creativity and idea generation, and it is always in search of other and new applications for existing products and services.The Eliminate method seeks to simplify the product, and sample questions include: What can be eliminated? What if it gets smaller?In the reverse method, the change of sequence and direction is taken into consideration, and a typical question in this method is: "What happens if the mentioned sequential relationship changes direction?"Image transformation has been welcomed by children's audiences due to its playful nature, and because of its background in the works of painters such as G. Arcimboldo, it is always one of the most used techniques in the art of illustrating children's books. But Iranian researchers have not paid much attention to this popular art technique. Parts of the joint article of Noroozitalab and Rostami (2013) have paid attention to the relationship between optical metamorphosis and optical illusion. In the mentioned article, the works of Magritte, Escher, Gonzalvez, Octavio Ocampo and Jos De Mey have been analyzed with re-spect to form, content, composition, color, light, style, structure, lines, etc. In his article (2022), Zanjanbar mentioned optical transformation in children's picture books and introduced it as a special state of "personification". In another article, Zanjanbar (2023 B) paid attention to image metamorphoses in four picture books Are you a stork or a woodpecker? (Khodaei, 2012), I stand on my hand (Khodaei, 2020), Elephant Buttons (Ueno, 1973)  and "I see, I see" (Henderson, 2019) from the perspective of deconstruction. have given.On the one hand, pictures are one of the most important sources of modeling thinking for pre-operational children, and on the other hand, image transformation strengthens children's ability to see things in a different way and to have a fluid and flexible look. In addition, since optical metamorphosis is essentially a combination of game and image; Its importance has always been understood experimentally for illustrators of children's books. Meanwhile, its importance has been neglected in academic research in Iran. This research focuses on the two issues of image creativity and optical transformation for the first time in children's literature.The purpose of this article is to show that the idea of image transformation follows the idea generation model of Scamper. In this regard, this article answers two questions: 1. How does the Scamper model create a creative optical transformation in children's book illustrations?  2. By dividing each of Scamper's seven methods into smaller subcategories, how can the structure of image transformations be morphologically analyzed?The statistical population of this article is children's books based on image transformation. The size of the studied sample is one hundred and ten picture book titles of age group "A", "B" and "C", of which forty one titles will be mentioned below. Most of these picture books are authored. Picture books mean books in which the picture does not have a decorative aspect; Rather, it is considered the main part of the discourse of the story. The method of the present research is inductive and analytical-descriptive. The data collection method is a library and a purposeful sampling method (suitable to the Scamper components).This research has shown that image transformations are the result of using one or more scamper methods simultaneously. In some examples, although several Scamper ideation techniques have been used at the same time; But the role of one of Scamper's tricks has always been more important in creating a optical transformation, and the rest have played the role of facilitator and foundation for its realization. For example, if the optical transformation is the result of turning the book (reverse technique); In the eyes of the reader who, with his active participation, keeps turning the book upside down to find out the ambiguity and multifacetedness of the image; The reverse trick is more prominent than tricks like Combine. This article has divided each Scamper trick into new subcategories.

Men’s      clothing underwent major transformations dur-ing the Qajar period in Iran, influencing the qualities of textiles used for this purpose. With a historical-analytical design, this developmental study aimed to analyze the designs, motifs, colors, and types of textiles used in men’s balapush (a type of loose-fitting overgarment) in Qajar Iran. Accordingly, the main question was: How did changes in men’s balapush influence the qualities of Qajar textiles and how were they manifested in their designs, motifs, colors, and types? The data were collected through documentary research, focusing on written and pictorial sources. With the help of text and image analysis, approximately thirty travelogues, as primary written sources, were indexed and picture- and painting-oriented sources were studied. The statistical population included Qajar men’s balapush and probability classification sampling was utilized to scrutinize the qualities of the textiles used for this purpose in terms of design, motif, color, and type. The findings reveled that the main overgarments worn by Qajar men were gaba (a long frock-looking garment open in front) and cummerbund, jobbeh (a kind of cloak) or aba (a long robe), sardari (a frock pleated round the waist), and kolijeh (a jacket with a long skirt). Over this 120-year historical period, many of these overgarments were replaced and ultimately, all were outmoded when Western coats and overcoats came into vogue. From the dawn of the rule of Agha Muhammad Khan Qajar, full-length gabas were standard; however, during Muhammad Shah’s era, gabas became shorter (knee length), a trend that continued to Naser al-Din Shah’s era. Although textiles used for making gabas were usually self-colored, patterned and vagireh textiles were also common during the rule of Agha Muhammad Khan and Fath-Ali Shah. In the same period and particularly during the period under the rule of succeeding Qajar kings, i.e., Muhammad Shah and Naser al-Din Shah, using plain cotton, wool, and silk textiles with a vast range of colors were popularized. Therefore, almost all short gabas were made in plain colors. During these periods, a shawl was often worn as a cummerbund to fit a gaba around the waist. The most common cummerbund design was muharramat. Leather cummerbunds were peculiar to the military and courtiers; however, from the Naseri era, they began to replace the shawls. Moreover, sardari was influential in outmoding these shawls as it could be worn without a cummerbund, expect in formal and military occasions, and gradually replaced gaba during the Naseri era (mid-Qajar period). Termeh has been listed among the textiles used for making sardari. In addition, pictorial sources show that self-colored and mass-produced textiles were also used. Qajar men wore cotton and wool (mahoot) sardaris in limited colors including black, white, and some shades of gray like brown as per the season. Sardaris were eventually replaced with coats in late-Qajar period, i.e., the final years of Ahmad Shah’s rule. Jobbeh, aba, and kolijeh were also among the garments worn over gaba. Wearing jobbeh was an acceptable standard, particularly for the men of the court, during the first half of the Naseri era. Jobbehs were usually made with termeh textiles in vagireh design and in shades of brown and navy blue. Abas, which were initially popular among the common people, were traditional natural-colored plain wool garments worn in cold weather and while traveling. Later, they became peculiar to only the clergy, setting the stage for the popular appeal of overcoats. Qajar kolijehs were worn over long and short gabas and later sardaris. Besides bestowing a distinguished look, they were worn for warmth. Kolijehs had fur trims and elbow length sleeves. During Fath-Ali Shah’s era, they were made with textiles that had vagireh designs and floral motifs. However, instances from Muhammad Shah’s era reveal that they were mostly made with termeh or plain textiles. In Naseri era, kolijehs were only made with plain or termeh textiles and were replaced gradually by overcoats in the second half of the Qajar period. Therefore, as Qajar men’s overgarments became shorter – ankle-length gabas became shorter and knee-high sardaris took over – patterns and motifs faded from men’s balapush, which was now limited to a few colors. This developmental trend influenced jobbeh and kolijeh as these ceremonial outerwear and formal winter overgarments were only made with termeh or plain textiles in limited colors. As a result, the diverse range of textiles used in making kolijehs in Fath-Ali Shah’s era were replaced with termeh shawls or even plain neutral-colored textiles. In this manner, expensive silk and zarbaft types of textiles gave way to wool and cotton textiles that were widely used. When gabas were replaced by sardaris, designs, motifs, and even bright colors vanished from Qajar men’s balapush. Furthermore, the fine textiles used in making kolijeh, as a royal garment, were superseded by plain or termeh textiles.

Among the visual signs in epic books that are used in battles and sometimes in mourning ceremonies is the flag. Flag or Alam is one of the signs that can reveal the religious and political thinking of an era. Therefore, by examining the sign in the paintings, the cultural, social, and political contexts of each period are revealed. The signs on the flag and Alam are sometimes symbolic and allegorical and can be a symbol of a family sign and derived from a special traditional and historical thinking. Since flags and Alam are basically the sign of a particular state or people, their presence in the paintings is of particular importance. Therefore, it seems that the motifs and pictures used in Alam and even the smallest details of Alam are not without influence in introducing the identity of that people or nation. Considering the importance of the flag in each period, it seems that the shape and color of the flags used in the Shahnameh of Davari were not without reason, and the examination of these motifs can express their thoughts about a nation or group in the Davari Shahnameh. In the Shahnameh of Davari, most of the flags of this Shahnameh are decorated with lions and suns, as well as the pole or the head of the flags in the pictures of this Shahnameh are sometimes in the form of dragons, birds, cedars, plant, and hand motifs. Meanwhile, the motif that is more interesting than other motifs is the hand or paw motif. Since the flags represent a special group to which this element belongs, and considering that the Shahnameh deals with pre-Islamic narratives, the question is, what is the reason for using the shape of the hand in the pole or the head of the flags?  What is the effect of the symbol of the hand in flags and flags on understanding the meaning?
This research is based on the descriptive-analytical nature and is based on the fundamental goal. The analysis of the images is based on the iconological approach. In the Shahnameh of Davari, out of a total of 68 images, 28 images have Alam and flag motifs. In the meantime, in 19 pictures, signs are seen with symbols of handprints, and the analysis has been done on these 19 signs with emphasis on the tops of the Alam. Also, research information has been prepared in a library manner. The findings of the research show that in the illustrated Alam of Davari Shahnameh, which was done by Lotf Ali Shirazi, There are hand marks on most of the Alams or flag ; So according to the time of creation of the work and the discourse of the Qajar period. It seems that the use of hands in these flags and Alam indicates the helping hand of Hazrat Ali (AS) or, according to Drovil, the hand of Hazrat Abbas or Hamsa. If any of the mentioned cases are accepted, it can be said that the use of the hand in the flag or Alam in the Shahnameh of Davari shows the support of Islam for the fighters in the Field. The use of the lion and the sun, which becomes the national emblem, shows the place of the ancient discourse in this period. There fore, it seems that by combining these two roles, Darfashi expresses a Darfashi that shows both the prosperity of ancient Iran and Islam. Anyone who has this door somehow has both Islamic power and Iranian power. Lotf Ali has created a text in which most of his heroes have such characteristics. According to the reviewed texts and the description of the Ghorian war, it seems that this thought was widespread in the Qajar period, consciously or unconsciously. Therefore, the hero and victor of the field in most of the images of Davari Shahnameh is the one who carries a flag in the shape of a "hand". Due to the prevalence of Ta'ziyya in this era, the painter had a Shiite interpretation of the paintings. Even though the story of the Shahnameh is depicted from ancient Iran, it is the presence of the hand that gives the hero extra power.Therefore, the liberating and helping force for the hero of the narratives is the hand of Hazrat Abbas and an Islamic force. Although archaism is one of the dominant discourses in this era, but the influence of ta'zih and mourning ceremonies has caused this element to be included in pre-Islamic narratives as well. Therefore, the painter introduces someone who is victorious in his paintings, who has the Islamic power more than he has any religious influence. In a way, the painter considers the Islamic force that emphasizes Shiism to be the support of the heroes of the Shahnameh and ancient Iran.