مجله رهپویه هنر
سال ششم شماره 4 (پیاپی 21، زمستان 1402)

Ancient artifacts of past civilizations and various designs on them carry ideas, cultural values, beliefs and archetypes. Therefore, examining the remaining works is a way to understand the function of codes, symbols and myths in ancient times. These symbols and motifs, which are created by the human mind to show transcendental forces, have been mixed together throughout history, a kind of harmony and closeness can be seen in the main themes and motifs, which makes a comparative study of these traditions possible. In fact, the use of symbols was probably the first attempt of man to describe his position in the universe. The role of different artistic materials shows ethnic religious beliefs and some realism. Humans have always believed that some creatures were selected and bred with supernatural powers. As a result of this breeding, the good or bad nature of those animals has been revealed in the material life of their breeders. Some of these motifs include animal symbols or human-animal hybrids. As one of these old motifs, the scorpion has been the origin of legends in the past and with characteristics such as insidiousness, evil and pain; it has been a symbol of death, war and sometimes a guardian. This animal was noticed by ancient nations because of its special role and place in the life of ancient man and based on this, various myths and beliefs emerged around its existence; To the extent that some of these motifs have always been important as a manifestation of gods or as a role or image. The necessity of this research is due to the fact that considering the importance of Iran and Egypt civilizations both in their historical existence as two of the oldest known civilizations and in the aesthetic aspects of the obtained works, it is necessary that the motifs of these works in terms of Scorpio symbology be examined and studied To show its value, content and cultural aspects. Throughout history, myths and motifs are mixed as if they were watered from the same source. In this research, it is hypothesized that the motif of the scorpion in the two ancient civilizations of Iran and Egypt as a symbol arose from the beliefs, beliefs and environmental conditions of the creation of these works. And this motif has a transcendental concept more than it has a mythological and literary meaning and it has been related to the religious rituals and beliefs related to the world after the death of the people of their time in both civilizations. In the upcoming research, the Semiotics of the scorpion in the ancient civilizations of Iran and Egypt will be discussed with a comparative study as two examples of the oldest known civilizations in the world. The research method of this research is comparative-analytical and the method of collecting information is library-documentary. The key question of the research is that in the comparative Semiotics of the archetype of the scorpion, what commonalities are evident between the ancient civilizations of Iran and Egypt? The results of the research indicate that the use of the scorpion motif on works and reliefs was considered in the ancient civilizations of Iran and Egypt due to the removal of evil and the support of this creature. And in the ancient civilization of Egypt, it was also worshiped as a protective goddess. In some books and researches, ancient symbolic and mythological animals have been investigated and studied. But from the study of the available sources, it is clear that the studies conducted in relation to the symbolism of the scorpion were case-based and less research has been directly related to the topic of this article, i.e. the comparative symbology of the scorpion in the ancient civilizations of Iran and Egypt. In this article, an attempt has been made to study and investigate the degree of adaptation of the Scorpio motif in these two civilizations by finding cross-cultural connections. The area under discussion in this research is the ancient civilizations of Iran and Egypt and the uncovered ancient works with the motif of the scorpion. The statistical population in this research is the ancient works of Iran and Egypt that have the symbol of a scorpion. From both ancient civilizations, pottery and artifacts with scorpion motifs and decorative scorpion paintings on tombs were examined. Finally, thirteen examples of works from different regions of ancient Iranian civilization and five examples of ancient Egyptian civilization were selected and subjected to a comparative study. It seems that the scorpion symbol in both ancient civilizations, in addition to the mythological concept, had a transcendental concept related to religious rituals and ceremonies.

Due to the ravages of the Mongol invasion and the long interval of a thousand years, only a few works have remained from the painting of the Seljuk period (590-429 AH).Varqa and Golshah is a romantic poem written by Ayyuqi, a poet of the Ghaznavid period. A manuscript of this verse belonging to the 6th century of the Hijri has been preserved in the Topkapi Museum in Istanbul. The artist of these paintings is Muhammad Khoei, and it seems that the version was drawn somewhere in Azerbaijan in the last years of the 6th century and during the collapse of the Seljuk dynasty (590-429 AH) in Iran. This period of Iran's history coincides with chaos, the formation of Atabaks local governments and endless conflicts. With the death of Sultan Masoud (529-547 AH), the last relatively powerful Sultan of the Seljuk dynasty, Emirs, who had the title of Atabek, emerged as the only influential group in the structure of the Seljuk government. Their first goal was to bring the princes under their tutelage to the throne. Atabak's first goal was to put his prince on the throne. These political conflicts caused chaos in especially the western regions of Iran. This article follows a sociological and historical analysis of the paintings of that poetry book. Since there is no information about the artist of the paintings of Varqa and Gulshah, Muhammad Khoei, the time when these paintings were created should be taken into consideration. This paper seeks to find the intention of the artist and the relationship between the style of the paintings and the historical and social situation of that era. Every artist is influenced by external factors in his life whether he likes it or not, while the artist benefits from the previous arts and the legacy left for him. In this research, the paintings of Varqa and Golshah will be examined with the approach of interpretive sociology and with the help of some principles proposed in the intentional hermeneutic method. Hermeneutics is searching for the understanding of the text, here the paintings are considered as the text. Here, the principles mentioned in Skinner's intentional hermeneutic method are used. According to Skinner, understanding the text involves understanding what meaning they intend to convey and how this meaning is intended to be interpreted. Skinner emphasizes the intention in the text. The intention in the text does not mean only what is in the mind of the agent or the author of the work, but to understand the intention, the actions of the author should be examined in the broader context of life and its specific social conditions. Skinner believes that the main duty of the interpreter is to prove the meaning of the text, and this meaning cannot be obtained by reading the text alone rather, to reach it, you have to go beyond or below the literary level of the text. As a result, knowing the political and social contexts along with knowing the author's intentions in Skinner's methodology can be considered. Skinner's method has three steps: Author's texts and works, Context reconstruction and Understanding the author's ideas. The artist of the paintings was influenced by the Manichaean and Sassanid schools of art, and in addition, he was influenced by the state of society and life, and displayed signs of the social changes of his time. At this time, the Iranian society had chosen the oriental face of the Turks as a symbol of beauty for more than a century. And this issue is clearly seen in Persian literature, especially poetry in these centuries. In addition there are some inconsistencies between the text and the image, which makes it important to analyze the artist's intention for such images. This issue can be examined in two cases. The first is in the images of hand-to-hand battles. While the poet presents an epic description of the battles and the bravery of the heroes of the story, the painter tried to increase the violence of the images by enlarging the bloody scenes. Another inconsistency is about the description of the position of a tribe. The artist has drawn a picture of a city with Iranian characteristics, a picture with details that shows the urban life and various jobs in Iran. From this, we can conclude that although in general, the images are dependent on the text, but the artist has tried to show the appearance of Iranian cities and the violent state of Iranian society. These inconsistencies in the images show the intention of the painter and this has had a great impact on the paintings.

The social function of visual arts has always been considered of importance as it can influence the individuals or societies, but the term "social art" is a concept related to contemporary art which is rooted in Critical Theory advanced by the Frankfurt School theorists in the late 20th century. The basis of critical theory is to reveal the power relations behind seemingly natural phenomena. From this point of View, one of the most important components of contemporary art, which distinguishes it from modern art, is getting out of the monopoly of a certain social class and dealing with minorities and subcultures that had not been visible before. It was based on this approach that the critique of social inequalities was also brought to the field of arts and it took the name of social art. Development of social art in Iranian contemporary history rotted in the consequences of Constitutional Movement in the Qajar Era, and manifested mostly in literature. In the post-Cold War years, the widespread presence of leftist tendencies led to the formation of criticism among writers and artists, which resulted in the emergence of critical art with regard to issues such as anti-imperialism, alienation, and the oppression of the lower working class. during the Islamic Republic Revolution, contemporary Iranian painting achieved significant success in accompanying social movements and proved its ability to disturb the order of spectacle. By the way, Since the late 1980s, with the spread of digital media and the easily accessibility of information for the general public, a new wave of socio-critical art that was previously formed in the West has spread to other countries. Contemporary artists changed role from the narrators of beauty to the dynamic social activists by reacting to regional and global events. On the other hand, from the beginning of 21th century, due to the rise of political tensions in the world and the increasing irreparability of environmental damage - and such cases -public protests became widespread around the world. The emergence of new social themes in contemporary art can be considered as a result of these changes in societies. Considering the importance of the socio-critical art movements in contemporary history and the necessity of studying the characteristics of this movement in Iran, the purpose of the present study was to find out the social themes reflected in the Iranian paintings of the 2010s and explain the way these themes are represented in the paintings. For this purpose, in addition to national festivals, the Archives of private galleries and Social Media pages of artists were explored to find works that match the definition of “social painting”. According to the theoretical basis of this research, social painting is a genre of painting which not only represents social realities, but reveal the contradictions in reality, by its style and concept. In fact, social painting need not to convey an ideological accepted message in an accepted representational mode, it is more concerned to illustrate the situations which reevaluate the reality. In this regard, images have a special advantage over words, and painters have correctly applied it. Social themes have been represented in the painting of the 2010s in an individual style with a tendency to surrealism and resorting to figurative elements. In this approach, by using familiar visual elements, the artist equips the beholder with the ability to relate the artwork and the external reality, but with the use of visual devices, he/she challenges the constructed image of reality. The study and classification of the research samples indicates that the identity crisis (especially the sexual identity) and the inequality in social classification systems, the destruction of the environment and its consequences on human life, and the growing despair through the loss of welfare and spirituality are the most important social themes of this decade's Iranian paintings. Some of these visual organizations that have been used in the research samples are: visual metaphors, putting incongruous elements together or putting elements in an unusual space, destroying and damaging the represented subject, exaggeration and deformation, The use of color in line with conceptual expression, the arrangement if visual elements so that convey instability and disorder, and the use of writing accompanying the picture in a way that reinforce or reject its concept. Artists used this strategy to put the audience in a state of ambiguity and suspense and make them think about the existing situation.

Azerbaijan region is one of the important centers in terms of Islamic architecture, the process of architectural development there is very old and the construction of tombs, especially tower tombs, has been very prosperous in this region. From the Seljuk era, tower tombs have been built in this area, which can be considered as one of the masterpieces of brickwork of this period, which are remarkable in terms of technique and variety of execution designs, and they somehow show the evolution of this group of decorations in the 6th century. For the facade of these tower tombs, bricks in certain sizes and with various geometric shapes are used in geometric, checkered, zigzag, horizontal and broken, cruciform, star, and polygon designs. Later, these bricks were used as a general feature of architecture in minarets, doorways, domes, and other parts of the building, which indicates the creative power of the architects of this period. Of course, brickwork was sometimes accompanied by other decorations such as plastering and monochromatic tiles, which can be seen in the round tower of Maragheh (563 AH) and Se Gonbad Tower Tomb in Urmia (580 AH). These two towers are among the most beautiful and significant historical towers of the Seljuk era, which are decorated with detailed arrays of brickwork and are a good representation of the common way of decorating the buildings of the mentioned period with bricks. The current research seeks to answer this question: What are the characteristics of the brickwork and plastering decorations of the two towers of the Maragheh circular tomb and Se Gonbad of Urmia in terms of designs and motifs, and what are the differences and similarities? The purpose of this research is to introduce and document the characteristics of the decorations used in the two mentioned buildings, as well as to compare the brickwork and plastering decorations of the round towers of Maragheh and Se Gonbad in Urmia. The current research has studied the decorations of the round towers of Maragheh and Se Gonbad in Urmia with a descriptive-analytical method and qualitatively analyzed the library, documentary, and field information. After conducting investigations, we found that there are common features in terms of motifs and composition in the decorations of the two towers of the mausoleum, which emphasize the common style in the Seljuk period. The findings indicate that in these two buildings (circular plan), the main emphasis is on the front and the entrance facade, and in this section, various brickwork decorations and a combination of brick and plaster have been used. The use of inscriptions in Kufic script on the foreheads of the arches and the use of geometrical decorations (knots) on the main border around the frontispiece are other features and similarities of these two tower tombs. In general, it can be concluded that the way of dividing the heads to implement decorations, the placement of decorations and inscriptions, the wide use of geometric motifs (nodes), and the use of turned bricks to create nodes are significant common features in these two samples. However, there are differences in the type of knots, quantity and quality of these geometric motifs, and implementation techniques.

The Davazdah Imam Mausoleum of Yazd, built-in 429 A.H., is one of the rare historical buildings in the Islamic world, which is very famous among Islamic architecture researchers worldwide. The Grivar inscription of this building shows the Ayatul Kursi verse in Moashaq Moshajar script in azure color on a plaster bed. Gestalt theory of visual perception is one of the influential theories of the 20th century in visual arts, which focuses the process of visual perception on a unified vision and the integrity of the work of art, and proposes 10 principles of visual perception. Due to the wideness of the Gestalt concept, no direct translation has been made in any language. This word means "form" and "shape" in German. In English, it is called "organized whole", "supposition", or "formation". In the Persian language, it can be equated to concepts such as "shape", "form", "structure", and "wholeness". It should be added immediately that none of these words alone fully express the meaning proposed by Gestalt. By watching a collection to perceive and feel it, the human mind unconsciously analyzes and categorizes its components and simultaneously thinks about form and content. It is the basis of the principles of Gestalt visual perception, which is the scientific basis of the present research for the visual analysis of the mentioned inscription. Several examples of works of art can be seen where artists have unconsciously used the principles of Gestalt perceptual organization in their creation without being aware of these rules. The inscription of the Twelve Imams of Yazd is also one of these works because its visual beauty and richness result from the use of good Gestalts by its designer (s), even when these rules were not discovered. Perhaps, in the analysis of how to perceive the visual space of an inscription and the criteria of its formation, the most appropriate approach is the Gestalt theory, which was used for evaluation in this research, and by conducting studies on it, the extent of utilization of these principles can be achieved. The current research was conducted through library and field studies, and the method used was descriptive and analytical. To collect the images of the inscription under the dome of the Davazdah Imam Mausoleum of Yazd, first, the entire inscription was photographed, despite being at a high height compared to the ground and its particular problems. Then, according to the photos, the software recreated this inscription from the beginning to the end, which is one of the long inscriptions. Some parts of the inscription were worn and damaged, which made it difficult to perform accurately. Subsequently, the visual analysis of the recreated design based on Gestalt principles began, and due to the diversity of these principles and the visual complexity of the inscription components, only some of these principles were focused on. This research tries to adapt three essential principles from the 10 principles of Gestalt psychology of sensation and perception in the mentioned inscription and seeks to answer these questions: - To what extent and how have the designers used the principles of figure-ground, continuity, and common fate to design the magnificent inscription of the Twelve Imams of Yazd? - What is the Pragnanz degree of applying each of these principles in the design of the examined inscription? The results of this research showed that the charm and beauty of the Grivar inscription of the Davazdah Imam Mausoleum of Yazd is the result of the use of artistic taste and the proper application of different Gestalts in the whole and its parts; however, this was done unintentionally and without knowing the scientific and psychological foundations of this theory. Considering this inscription's breadth and complexity, it was impossible to examine all the principles and rules of Gestalt in this study. Undoubtedly, the intensity of other possible Gestalts affected the quality of the overall perception received from scrutinizing the inscription. However, the result obtained from this research showed that the visual richness in the inscription results from applying the Gestalt of figure-ground, continuity, and common fate to a large degree, which remarkably created its substantial and satisfactory Pragnanz.

One Piece manga was published in Japan by Shueisha Publishing and illustrated by Eiichiro Oda in 1997. Eiichiro Oda is a Japanese manga artist who began his career in 1992. His one-shot cowboy manga, Wanted, won second place in the coveted Tezuka Manga Awards. One Piece is a shonen manga, and the number of its episodes has surpassed one thousand. Manga has become a cultural symbol of Japan. One Piece manga is globally popular, and an anime adaptation was created by Toei Animation Studio. The primary purpose of this research is to recognize the reflection of Joseph Campbell's hero's journey pattern in the illustration of One Piece manga. The main research question is how Joseph Campbell's hero's journey pattern is reflected in the illustration of One Piece manga. This research was conducted using a descriptive-analytical method, with data collection taking place in library form. The hero of One Piece, named Monkey D. Luffy, starts an adventure to find One Piece and become the Pirate King. Luffy is the captain of the Straw Hat Pirates. They reach Wano Country and save it from ruthless pirates. Luffy is the captain of the Straw Hat Pirates, which includes Zoro, Nami, Usopp, Sanji, Chopper, Robin, Franky, Brook, and Jimbei. The archetype of the hero's journey shares many similarities with the story of the main character of this manga, a hero who begins his journey around the world to discover the unknown and achieve absolute freedom. Joseph Campbell, an American mythologist, describes the pattern of the hero's journey and mythological stories in the book 'The Hero with a Thousand Faces'; this pattern consists of three general stages: departure, initiation, and return. Resources related to One Piecee manga aren't available in Persian, and Iran has few resources related to manga and anime. Due to this issue and the increasing popularity of manga worldwide, this research studies One Piece manga from chapter 1 to 1057, analyzing the hero's story theme based on Joseph Campbell's pattern. The results show that Joseph Campbell's hero's journey pattern in One Piece manga is reflected in the literature and illustrations of this manga, including character designs, facial expressions, and the background. Monkey D. Luffy's emotions and anatomical design align with Joseph Campbell's pattern. The hero, through his journey, has gained inner peace, freedom, and more acceptance in life. His worried and sad face in childhood has transformed into a happy and relaxed one. Soft, smooth, and curved lines are used in the design of Luffy's face, resembling the sun god; these lines show gentleness, flexibility, and change. Luffy's clothes reflect his free personality, and the color red in his clothes shows joy, passion, power, and courage. Other characters, including the mentor, the goddess, and the father, are illustrated based on Joseph Campbell's pattern, evident in their faces, anatomy, and personalities. One Piece manga characters related to Joseph Campbell's pattern were described and analyzed in this article. Shanks' character is a primary symbol of the forces that have entered the game to help the hero. Shanks gives his valuable straw hat to Luffy and encourages him. Shanks's character design has sharp lines, and multiple hatches are used to show seriousness and strength. The anti-hero character Kaido followed the patterns of Joseph Campbell's hero's journey. Kaido is a mean pirate who brings destruction and misery to the land of Wano; he has the role of the father. Kaido will be defeated by Luffy, and the people of Wano Country become free and happy. Kaido's character design has sharp lines, and triangle shapes are used as a sign of stubbornness, and darkness and hatches have helped to show the cruelty and pride of this character. Joseph Campbell believes that the goddess is the standard of all beauty; Boa Hancock's character has the role of the goddess. This character is beautiful, young, and powerful with feminine elegance. The mentor in One Piece is depicted as an old man named Silvers Rayleigh with high abilities and powers. Many lines are used in the design of his face to show his old age. The design of the glasses on Rayleigh's face shows his intelligence, and his muscular body shows his physical strength.

In the course of history, photos have been published that have found a place beyond an regular photo. These photos have become a part of a heritage and memory of the people of a land or the whole world. This has caused artists and authors to be inspired by them and create other works such as films, sculptures, poems, performances, etc. This reception and adaptation shows that the importance of these photos is such that others have become interested in them to create a work similar to or derived from it. Parody, travesty, and transposition are used more among the hypertext that are based on photos. Pastiche, charge and forgery are less used in the hypertext of the photo.The myth-photograhs can be placed in the position of producing ideology and become the initiator or continuation of a cultural or political movement. Also, by expanding in other symbolic systems, they cause the growth and multiplication of their meaning as well as the expansion of that medium. This research has been done by descriptive-analytical method and according to the hypertexyualité approach. The result has shown that five factors are effective in the popularity and reproduction of photos and can make them legendary: Propaganda of power institutions: these institutions are able to make a photo famous and use it repeatedly by reproducing and distributing it widely. The photo of raising the flag on Iwo Jima is the most famous example of this. This photo has many different hypertexts and examples can be found in at least five of Gennett's six. Public favor and opposition to the ruling power: It is possible that a photo has gained importance against the usual process and government propaganda, as well as with regard to the general public, and this causes many popular or popular hypertexts to be made based on it. Like Che Guevara's photo. - Dependence on occasions: occasions and commemorations make a certain photo appear more important at a certain time and become the subject of reproduction and adaptation. The same photo may receive less attention at one time, but at another time it becomes especially important. For example, Omar Khavar's photo is more popular than ever at the same time as the anniversary of the Halabja tragedy. Photo in the position of starting and reminding an event: there are photos that, due to the specific narrative of a memorable issue, have caused the participants in the anniversary ceremony of that event to repeat actions similar to the original photo and This makes photographers try to create a photo similar to the original photo. The photo of Victory Day in Times Square is one of the famous examples for this section. The importance of the photo is based on the effects of the paratext: the audience's information is based on observing the elements in the photo and also receiving marginal explanations about it. These explanations can be true or false. The paratext of the photo presents marginal narratives and refers to things that exist outside of the photo itself. The photo of the child and the vulture by Kevin Carter is the most famous photo that has such a feature. Because when everyone sees it, they remember that the photographer of that photo committed suicide. It can also be said that the photographer and his tools do not have much effect on the production of the myth-photograph. Because the spread of a photo among people is influenced by factors after photography. The myth-photograph is created after the photography and with attention to communication and advertising. It should be noted that in a certain period, a photo may be popular and reproduced. But after the excitement and excitement subsides, that photo will usually be forgotten. Alan Kurdi's photo is a good example for this category of photos. The question of this research is how a photo could go beyond an advertising media and become a role model? "Myth-photograph" is a term that was developed in this research and also managed to achieve a specific definition of the concept and the effective factors in its production. A Myth-photograph is a photo that has been adapted by other artists due to its many reproductions as well as its pre-textual properties, creating a hyppetexyualité. Such a photo can remain in people's minds for a long time due to its features such as the narrative in itself and how it is reproduced on the audience level.

Film still photos play a crucial role in the continuity of the concept of cinematic effect. Film still photos should have the capability to highlight individual parts of the story of movies in a way that attracts the audience. Publicity still photos provide the same functionality as non-cinematic promotional photos taken for a specific purpose, if these photos are outside their original context; they find other meanings and can recreate a new narrative. With this in mind, in film still photography, every shot is synecdoche, where by seeing the photo after the release of the film (post-production stage), we are guided towards the story and the whole of the film. Indeed, this referential feature must be included in every film still photo; otherwise, it will not work. In the 1960s and 1970s, the decline of the economic power of film studios also caused an unprecedented reduction in the budget of the Unit still photographers department. The most famous example of photographers’ work was the presence of nine Magnum photographers on the set of the movie misfits. At that time, their photographs were effective advertisements for the film. Their photographs were the start of an unorthodox path for film photography. Such photographs are independently different from functional photographs prepared from the main narrative and film scenes, which do not possess a unique style or a special interpretive mode. In these examples, the photographers were chosen due to the closeness of their style and works to the style of the filmmakers, and all of them prepared their works in a desired way, not similar to the form and narration of the movies. Another important example in the career of Mary Ellen Mark, a social documentary photographer, is the set of film still photos she took on the set of One Flew over the Cuckoo’s Nest. The film was made in the men’s psychiatric ward of the Oregon State Hospital. During the filmmaking, Mary Ellen Mark also met the female patients of the special ward of the hospital. After the process of film still photos, he returned to document the daily life of female patients and published his collection of photos in ward 81 book. Such a style is not often found in Iranian cinema. The film “Here, a Shining Light” was photographed by Mohsen Rastani, a documentarian and photojournalist who is interested in the style of Richard Avedon. The result of his work has been published in a book of the same name with the title of film, which is a sequel to the collection of photos of “Iranian Family”. In this special model, where the photographer seeks to continue his personal style and process in the form of film still photography, we are typically faced with two collections. In the first step, production and publicity film photos that have the main function of Film still photography, which is to refer to the narrative elements of the film or the content of the film. In the next step, the extension of the photographer’s style by using the space provided by the story of film, which is different and sometimes in conflict with the narrative process of the film. All the Possibilities and Actions that happen on the Screen when the Movie is shown in the Cinema, such as, the Verisimilitude of the Story, the Speech, the Activity of the Characters and all the Actions that are performed simultaneously with the Movie show, are called Diegetic elements. Film Still Photos are in the Category of Diegetic Elements that has references to the Narrative of the Film. A small number of Film Still Photographers with a Different approach take Photos in their own style outside of the Order of Narrative. In this research, the Non-diegetic elements in Mohsen Rastani's Film Still photos from the movie "Here a Shining the Light" and Mary Ellen Mark's Film Still photos from the movie "One Flew Over the Cuckoo's Nest" have been analyzed based on Umberto Eco's theory of Rhetorical codes. The main question of the research is, how can the similarities and differences between Mohsen Rastani and Mary Ellen Mark's Film Still photos be explained by Non-Diegetic elements? Recognizing the Non-Diegetic elements and the style of the photographer in Mohsen Rastani's film still photos in comparison with the photos of Mary Ellen Mark is based on the theory of Rhetorical codes. The method of this research is Descriptive-Analytical with a Comparative approach. Sources are collected in a library method. Some Photos are also downloaded from Internet sources and other photos taken from personal archives. From the comparison of Mohsen Rastani and Mary Ellen Mark's photos with the Rhetorical codes theory approach, we can conclude that both of them have photos related to the narrative of the film, and photos with a personal style (documentary-portrait) and related to Non-Diegetic elements that have become books and exhibitions.

In the our day, most of the arts, like in the previous periods, do not make beauty and glory their subject, but reflect the ugliness that makes unpleasant feelings such as painful, disgusting, etc. ugliness is opposed to beauty, because ugliness makes an unpleasant feeling and beauty makes a pleasant feeling. These two opposite concepts can be included in one category when they are defined under feeling and emotional influences. Feeling and emotional influences are important in the concepts of aesthetics, including aesthetic experience, where the perceiver receives a feeling that enriches the experience when facing artistic subjects, whether pleasant or unpleasant. aesthetic experience is considered a value experience and in the analysis of aesthetics, it is the strength and weakness of the work of art, such an experience potentially exists in and is made by art objects. Jerome Stolnitz expands the aesthetic experience in the theory of aesthetic emotionalist so that the aesthetic experience is "successfully" completed based on the lengthy of interest in the subjects. The aesthetic experience is make in the uninterested and sympathetic attention to any object of awareness and contemplation on it, only for oneself with a hedonistic tone; this definition of experience, in addition to beauty, also includes ugliness. An aesthetic experience with a hedonistic tone is made by the lengthy of interest in ugliness. Interest during contemplation is stimulated by reference to emotional moods in relation to tensions between elements of the work of art. Such emotional stimulation is made by the characteristic of sympathetic and identification and becomes so perceiver for the convincing that it attracts his attention until the experience is made successfully and unity. In other words, despite the ugliness, perceiver is so emotionally immersed in the work that it engages his mind for a while. In such an experience, ugliness can be valuable and aesthetic, and can be called as "non invincible" and pleasurable despite feeling unpleasant. Now, while introducing Stolnitz's point of view in the theory of aesthetic emotionalist, we want to discuss his theory in the course of analyzing selected works of painful war photography, and specifically, the photographs of Don McCullin and Eddie Adams. The photographs that have the greatest impact on the audience due to the notification of war disasters. The photographs that show the moments of death in the Vietnam War reflect an ugliness that has a very painful effect on the audience, to the extent that they are outraged by the injustices of the war. we chose Stolnitz's approach to interpret and analyze their specific painful effects, which are an aggravating factor in emotional effects; why can it be a good ability for this kind of view because of the arousal and stimulation of emotion. the purpose of this research is to introduce a trend of aesthetic pleasure and analyze it in selected photographs of painful war, which most critics and audiences expect to be informed and represented with special intentions and goals in a value judgment to honor art. Painful war photographs in the analysis of Stolnitz's theory of aesthetic emotionalist show that painful war photographs, apart from the informational aspect, have an aesthetic aspect that makes a pleasurable experience in contemplation and lengthy of aesthetic interest. As a result, pleasure and aesthetic experience are not incompatible with the feeling of pain, and despite the unpleasantness of the photographs, the experience of the audience has an aesthetic and hedonistic tone. In McCullin's and Eddie Adams's war photographs, we are made an experience of "non invincible" ugliness (here pain) that has a hedonistic tone and is sustained by an aesthetic attitude. Experience becomes valuable and enjoyable when it is received with length interest and unity. These photographs make the experience that comes from reflecting on the events of war, both for those of us who are outside of it and those who are involved in it, in the form of photos. The experience that is made in the display of anti-human war events - destruction, hunger, displacement and especially death - and makes us think about how big politicians commit crimes for their interests. By sympathetic and identification with war photographs, we feel pain from them, which is fusion with cruelty and injustice, and we get an experience of war tragedies that we may never get in the experience of life. Painful war photos, apart from the aspect of informing, invite us to aesthetic contemplation and realize the experience that happened in war events; this acquisition of experience has a hedonistic tone, but it is accompanied by a feeling of pain. Finally, according to Stolnitz, pleasure is neither a value nor a factor for evaluating aesthetic experience, but rather a predicate for aesthetic value.in this research, the data was collected through library study and internet search and then analyzed by looking at the selected works of McCullin and Eddie Adams.