نشریه مطالعات بین رشته ای هنرهای تجسمی
سال دوم شماره 1 (پیاپی 3، بهار و تابستان 1402)

Exposing and receiving meaning from a work of art, especially in the field of the image, requires a systematic and coherent framework. Ervin Panofsky has presented a three-step method for passing through the meaning of the face, which in this study has been used to study two paintings of the incident of Ismail's victim. The slaughter of a child by Ibrahim is a turning point in the life of that Imam, which artists, influenced by the society, religion, and art schools of their time had a realistic and surreal look at it. The purpose of the present study is to explain the lyrical and humanistic concepts in the two images of the incident of Ishmael's sacrifice, and the main question of the research is: What are the visual features related to the lyrical and humanistic concepts in the images? Therefore, relying on Panofsky's iconographic method and considering the temporal and spatial conditions of the production of works, it was concluded that due to Farshchian, the existence of lyrical, mystical, and extraterrestrial elements such as open frame, circular composition, and warm colors. Rouhani has emphasized a surreal atmosphere. The reverse is true of the Da Vinci painting, which is the product of a closed, compressed frame and other elements of the image, such as color, light, and composition, that align with the expressive look. Besides, the research method in this qualitative research is descriptive-analytical, which has been collected with a comparative approach using the library and computer resources and by taking notes.

two civilizations of Marlik and Jiroft have been very fruitful and rich in terms of concept, image Animal motifs are one of the main motifs used in ancient Iranian art. These motifs in the and structure, which have been considered by the artists of this land. Since one of the basic concepts in semiotics is the dual confrontation that is rooted in the mythological, cultural and geographical beliefs of human beings. This study tries to answer the question of what are the dual contrasts in eight of the animal motifs in Marlik and Jiroft from a semiotic point of view with a structuralist approach? The purpose of this study is to study the dual opposition as one of the main components of structuralism, sign system and motifs based on positive and negative poles. Therefore, in this article, a descriptive-analytical method has been used to examine eight cases of animal motifs in these two civilizations. It finds meaning and becomes a sign language.In this study, four types of interactions were selected for identification and study: 1- Personality confrontation 2- Spatial confrontation 3- Temporal confrontation 4- Signal confrontationAfter analyzing the works, it became clear that the ancient Iranian artist considered the design of these four types of contrasts in close connection with each other and considered them inseparable from each other. The artist's goal was to address fertility and drought concerns in the Marlik and Jiroft areas, which are displayed in the form of animals facing each other and against natural elements.

Historical empathy, the emotional experience of visiting historical art museumsCase Study ; Chaldoran war paintingOne of the different reasons for visiting museums is gaining emotional experiences. Because visitors are always looking for a deep and meaningful connection with the places, characters and works of museums.It seems that museums have great power in creating emotional and emotional reactions to help people connect with the past, and the sense of empathy has great power for this type of communication, and one of its types is historical empathy.Because it leads to the reconstruction of evidence, attitudes and historical events, as well as the recognition of the relationship between multicultural societies of the past.Knowing the past history is one of the practical aspects of museums.Because the exchange of information is done based on it.Historical periods and figures are worth investigating for any society and their stories are related to each other and cause a link with the past so that everyone can understand the nature of historical events and figures related to it in the present.The aim of the article is to introduce historical empathy as a solution to create an emotional museum experience, which can develop individual skills at the community level with the interaction of its dimensions.The article answers two questions with a case study of the Chaldaran battle painting in Chehelston Museum, Isfahan:How do museum works strengthen historical empathy?How does historical empathy change the attitudes and values of the present time? Descriptive analytical research method is based on Davis' empathy theory and data collection is done through library resources, empathy questionnaire.The results show that historical empathy in the museum is an approach to understanding time through distant memory, which creates a new feeling so that by understanding the perspective and motivations of the past history, one can experience a kind of emotional connection with each other in the present, and to the most important goal of the museum, which is Individual skills change achieved.

In this article, we will first explore the concept of a photograph as a text and its linguistic and semiotic dimensions. In this regard, we will draw on Roland Barthes' theory and the concept of punctum, as Barthes is the only philosopher who specifically addresses the concept and characteristics of a photograph as an artistic text. In the next section, we have utilized the theories of the renowned structural linguist Roman Jakobson, as he has valuable practical theories regarding the message as the central communication link between the text and the audience, which aids us in advancing our understanding of the text. Furthermore, the article delves into the notion of photography as a form of discourse, which is the product of a particular type of communication and nature. Additionally, by employing the concept of hermeneutics, we discuss the role of the audience in the interpretation and decoding of photographs as linguistic texts. In this context, we have drawn on the theories of two important and influential philosophers of hermeneutics, Paul Ricoeur and Hans-Georg Gadamer, who have significantly contributed to the extension of hermeneutical approaches to non-textual materials. The research aims to explore how viewing a photograph as a text provides an approach to semiotics, linguistics, and hermeneutics in the production of meaning in photography. This research was conducted through library research and descriptive analytical methods. It appears that the interpretation and understanding of the meanings of photographs, as well as any other artwork, rely on multiple factors, including culture, cultural background, personal experience, and individual knowledge.Keywords: Photography, Semiotics, Linguistics, Hermeneutics, Text

The analysis of the ancient artifacts of civilizations of the Middle East region, such as figures, reliefs, wall paintings, decorative motifs, seals, texts, and other works found in temples, palaces, and tombs, proves that music was an integral part of civilization in this region. As the people held special sanctity for it. Ancient Elam is a clear example of this issue. Studies show that the civilization and culture of ancient Elam were mixed with music, as the presence of music is clearly seen in all religious ceremonies and celebrations, including prayers, sacrifices, vows, royal meetings, mourning and burial. The artifacts of this civilization are evidence of the importance they attached to the place of music and musicians. Analyzing the artifacts left behind by ancient Elam, such as cylindrical seals, terracotta figurines, and reliefs primarily found in Shush, Haft Tepe, Chaghamish, and Kol Farah, can provide insight into the profound relationship between music and myth in Elamite culture. The purpose of this research is to analyze the special perspective of Elamite society towards music and prove its connection with mythological beliefs in this civilization. The information and data of this article were obtained in the field method, by referring to the antiques and archives available in the National Museum of Iran, as well as the documentary method, by referring to the available documents and sources, and finally, by the descriptive-analytical method they have been investigated and implemented. The key research questions are as follows: 1. What is the relationship between mythological beliefs, music, and Elamite musicians? 2. During which historical period in Elam is the connection between music and myth most evident? 3. How do the physical attributes of musicians depicted in artworks, such as nudity and gender, relate to mythological concepts?The result of this research shows that the Elamite society looks at music as a connection between man and the world beyond man based on mythological concepts. This special view in the second millennium BC with the appearance of terracotta figures of musicians becomes more intense than in any other period. Because focusing on individual characteristics in these works stabilizes the relationship between musician and music with mythological concepts.

Ferdowsi's Shahnameh is a collection of stories with universal structural elements, the concept of tragedy in many of them, in accordance with Aristotelian thought, is a part of the content of this valuable literary treasure. The coexistence of the Shahnameh with the art of painting has led to the creation of brilliant and valuable works such as the Shahnameh of Tahmasbi in the history of painting, and the tragic burden of the stories has contributed to the complexity and cultural richness of the paintings. In the description of tragedy, besides Aristotle, other philosophers such as Hegel have presented their thoughts and theories. The present research will answer this question, how is the analysis of Fereydoun and his sons' paintings in Tahmasbi's Shahnameh according to the components of tragedy from Hegel's point of view? The purpose of writing this article is to know the components of tragedy from Hegel's point of view and compare it with the pictures related to the story of Fereydoun and his sons from the Shahnameh of Tahmasbi in order to present a new aspect of these pictures by adapting to the Hegelian model. Based on this, in order to understand the connection between the concept of Hegelian tragedy and the Shahnameh, these paintings have been selected and used in the opinion of the authors because they have the essence of tragedy and the course of the tragic sequence in them. The research method in this is descriptive-analytical, and the information was collected in the form of documents and libraries. The results of the research show that fictions, in addition to having the concepts and characteristics of Aristotelian tragedy, can be examples of Hegelian components. The images on the features of the features of visual and story elements in many cases overlap with the concepts of tragedy according to Hegel. Thus, these paintings can be analyzed not only based on Aristotelian thought, but also based on the concepts of Hegelian tragedy.

Sasanian art is an original and progressive art that includes a coherent set of images in different scales, from depictions on stone reliefs to depictions of small and large metal vessels in various forms. In the metal containers of this period, various depictions including different themes and traditions are manifested. Many studies have been done on these dishes, but the narrative field of depiction in them has not been studied so far. However, the narratives depicted on the metal vessels of this period are very important from the literary, historical and religious point of view and provide important and practical documents in describing the cultural, religious and historical conditions of that period. Therefore, with a new look, these questions are raised that what narratives and themes do the depictions in Sassanian metal containers contain? And what is the relationship between these traditions and the literary, historical and religious texts of the Sassanian period? Also, investigating the traditions and themes engraved on Sassanian metal vessels and discovering the traditions hidden in them is the aim of this research. The research method is descriptive-analytical and the method of collecting library information. By placing the illustrations on the metal vessels of this period in three categories of literary narratives and themes, historical narratives and themes, and religious narratives and themes and analyzing the findings from it, it can be said that the literary narratives and themes in works such as the story of Bahram and Azadeh, Tree Asurig, Yadgar Zariran and Panche Tantre have been considered in depicting literary themes on Sassanid metal vessels Also, the narratives of bravery and warfare of the Sassanid kings can be seen both in books such as Ardeshir Babakan's workbook and in the metal vessels of this period in the form of illustrations of the hunting and bravery narratives of the Sassanian kings. Finally, the narratives and religious themes in the book of Avesta and Bandheshen have been taken into consideration in the illustration of Sassanian metal vessels, including the illustration of the narratives related to the goddesses and their supernatural powers, the story of creation and other religious topics.

After the compilation of the Shahnameh, for several centuries, this work lacked visual arrays, and based on the latest findings, the first illustrated version of the Shahnameh was produced during the Ilkhanate period. Then, this movement was noticed by art patrons and book-making workshops in different regions of Iran, such as Shahnameh Baisangri and Tehamasbi in two different periods (Timurian, Safavid) are among the prominent examples of this domain. Meanwhile, although the pretext (Ferdosi's poems) is the same in both versions, the final text (Nagare) has different aspects. In this regard, the painting "Rostam's battle with the white devil" in Baisangari and Tehamasbi's Shahnameh (related to the story of Khan Havtam Rostam) has been examined as a case study due to the changes in visual expression, and subsequently, the concept of transformation in the perspective of structuralism as a theoretical framework can transform transformations. reveal the existing Based on the descriptive-analytical method, with the aim of comparing the structural transformation of the two paintings and achieving the depth of the story, the present research wants to address the question of how the painters have depicted the story of Rostam's battle with the White Devil by relying on the concept of transformation. Data collection in the current research is done using the library method, qualitative analysis method, and using the structural approach based on the concept of transformation. The findings indicate that both texts undergo a structural transformation in comparison with the poems of the Shahnameh (prologue). In this matter, reasons such as being influenced by political, military, social and religious norms such as the ideological conditions governing the time, the personal beliefs of the kings as patrons (supporters) and the ruling schools of painting (Herat school in Baisangari Shahnameh and Tabriz school in Tehamasbi Shahnameh) have been effective Also, the personal style of the two illustrators in the emergence of form and content features has caused a different reception from the pre-text in the creation of the final text. This indicates a kind of structural transformation in external and internal factors, such as the change of the hateful character of the white demon into an oppressed and pitiable character, the substitution of Baisanqormirza for the character of Rostam, the removal of other demons mentioned in the story in the version of Baysanqari, and the removal of characters such as Kikavus and his companions in The picture has been copied.

Semiotics is a new science that helps us have a better understanding of the world and the codes that govern it. Signs are noticed by different media because of the tremendous impact they have on human senses and perception. Among the various issues that have occupied the world's media, the Palestinian conflict has become the basis for the creation of various works of art. In the field of graphic design, the number of posters created on the subject of the Palestinian conflict is so large that Palestinian posters have become a well-known subcategory of political posters. Regardless of its global importance, the issue of Palestine in terms of the existence of cultural, political and religious foundations in our country has also been taken into consideration by Iranian designers and has taken a significant share of Iranian posters in recent years. For this purpose, this research seeks to identify and introduce Palestinian posters and analyze the symbolic elements and visual signs of these works. The general results of the research acknowledge that in the design of Palestinian posters, codes and symbols specific to this issue have been used and have been used extensively in such posters and have rarely been used in other issues. This research was done by descriptive-analytical method and the method of collecting information is library-electronic. The research community of this research consists of a selection of Palestinian political posters in recent decades, which have been selected non-randomly and qualitatively analyzed due to the variety of forms and the multiplicity of visual signs.

Fereydoun is one of the prominent mythological figures of Iran whose life story is described in Ferdowsi's Shahnameh. Fereydon is the representative of good against Zahhak, the demonic character who, by binding Zahhak, frees the world from oppression and violence, and sits on the throne of government instead of Zahhak. The story of Fereydoun and the imprisonment of Dhahak has been depicted many times by painters in the manuscripts of different periods of art history, among the mentioned manuscripts, the Shahnameh of Shah Tehamasbi is a great example of Safavid period calligraphy art. In the mentioned version, the image of Zahhak being tied up is depicted in such a way that Fereydon is standing on top of the mountain with his cow mace next to the tied up Zahhak. on the other hand, there are a group of people in the middle of the picture, which the researchers believe are people related to Fereydoun and the story of Zhahak's imprisonment, and the picture is depicted in a single plane. However, the author of the present study, by examining the clothes of the figures in the painting, used the clothes in examining the dignity of the figures in the painting and has another theory in this field. "The question is, to what extent did the painter use clothes to show Fereydoun's dignity by tying Zahak?" It is assumed that the painter of the picture, by drawing the laughter, has used clothes to a significant extent to show the dignity of Fereydoun in his work. The purpose of the upcoming research is to analyze the dignity of Fereydon from the point of view of clothes and to present the social status of Fereydon and others in the picture of the binding of Zahhak in the Shahnameh of Shah Tahmasab. This research has a fundamental-developmental nature and is a method of collecting library information. The results of the research acknowledge that, contrary to the opinion of art researchers about the image of Zahhak's tying up, the artist displays the said image of Fereydoun character twice in two different social positions through the form of clothing, and in fact, the said image is two-dimensional. It shows different aspects of Fereydoun's life.

The moving images that convey the message and content to the audience are motion graphics. Presenting the content in the form of motion graphics, due to the presence of movement and sound, creates a double attraction in the audience. Motion graphics focus more on the image of proportions and visual harmony, including light and color, sound, movement, text, and symbolic aspects, and are widely used in advertising. The purpose of this research is to identify and analyze the use and characteristics of motion graphic elements in a number of cinema advertising posters and to evaluate the effective factors on attracting audiences and their satisfaction with visual quality and appropriate information. The art of poster design requires targeted efforts to attract the audience more than any other art. The purpose of the current research is to use advertising posters in virtual space using motion graphics and scientific research and to present the ability of motion posters to attract audiences. Considering that the present research has used descriptive-analytical sources and reliable and library documents, the information was collected in the form of flash and then the obtained items were collected through comparison and investigation based on reason, logic and reasoning, analysis. becomes.

Deconstruction first originated in literature, then extended to the realm of art, and ultimately influenced graphic design. The current research aims to explain the characteristics of the deconstructive style observed in the poster designs of the California Institute of Arts (Cal Arts) during the 1990s, as one of the pioneers of deconstructive graphic design.This research is practical in terms of its purpose and is considered qualitative in terms of data. To conduct this research, an initial review was conducted on printed and electronic written sources pertaining to deconstructive thinking and deconstructive graphic design, and through that, a researcher-made checklist was created for the analysis of artwork. Then, using a checklist, the 311 samples of posters designed in Cal Arts Institute from 1900 to the end of 1999 were analyzed to determine the frequency of each of the eight deconstructive features observed in the samples. Finally, two artworks with the highest identification of characteristics were analyzed using qualitative methods.The research findings indicate the presence of three primary features of deconstruction observed in the majority of artworks produced by the Cal Arts Institute: cluttered typographic elements, cluttered pictorial elements in the composition, and changes in type form. Following these three features, the collision of typefaces emerges as another deconstructive characteristic found in the posters of the Cal Arts Institute. The most prominent deconstructive characteristic is the use of cluttered typographic elements, which highlights the strong relationship between deconstructive graphic design and typography. In some artworks, more detailed characteristics were observed, including changes in size and typographic baseline in smaller typographic elements, the creation of wave-like lines, and the blurring of letters.