پژوهشنامه گرافیک و نقاشی
پیاپی 12 (بهار و تابستان 1403)

Some artworks seek to express a new concept by representing and replacing the everyday subject to invite the audience to reflect on everyday life. In view of this, this article intends to deal with the importance and method of producing artwork using present and everyday topics through the method of qualitative semiotics. By raising the question of how everyday issues lead to semantic implications and artistic objects, they invite the audience to reflect on the normal phenomena of everyday life.According to the findings of this research, it can be acknowledged that since the work of art can be known and interpreted only by the relationship and through the relationship with the real element, the everyday element or the real thing is considered a document, as well as the works of art with the representation and substitution of the object. The original, not only by expressing the idea but also by using methods such as defamiliarization, deconstruction, emphasizing and replacing the everyday element and the place of display of the artwork, achieve new meaning and concept and create surprises. These works of art create meaning by emphasizing the everyday things that have become boring due to repetition and encourage the audience to reflect. The results of this study, which deals with the influencing factors and their comparison in different works, are shown separately in Table No. 1.Case examples: Victor Burgin, Mehran Tamadon, William Anastasia, Farhad Fakhrian, Kenneth Josephsen, Robert Smithson.Changing the direction of familiar rules in art requires crossing the range of familiar processes of the past and defamiliarizing them. In explaining his reflections, Charles Sanders Peirce calls the symbolic process the interaction between semiotics property, interpretation, and representation. In other words, the signification process is an interaction that exists continuously between signs and the outside world, signs in relation to each other, and signs with their audience.Based on this, paying attention to the common relationships between defamiliarization and the symbolic process leads to a more appropriate understanding and acceptance of artistic creation, which is based on the system of signs above all else. Because the system of signs, at the same time as it examines its structural features based on the process of its origin, its meaning, and applications, always establishes a relationship with different processes of perception. Perception is a way of discovering that in its evolutionary process and in the transition from the objective form of the sign in order to receive its inner meaning, it always establishes a changing and variable interaction with thought, imagination, and experience.Showing the objects of daily life and inviting the audience to reflect and think about them in such a way can lead to the creation of conceptual art, the most important aspect of which is thought and reflection on the mundane matters of life. Also, since the subject of the works of daily life is completely derived from the real thing, with the most similarity to the subject, they are considered to be symbolic signs, which sometimes play the role of a symbol and sometimes only through expression with a new media (photography or painting). They have found the role of index plays a fundamental and central role in conveying the meaning and concept of the artwork.The study of works of art, whose subject and centrality are taken from the heart of everyday life, is the source of writing this article. Also, by studying the theories of deconstructionists such as Roman Jakobson and modern semiotics such as Peirce, we can conclude that the use of media (especially photography and painting) to represent every day and also the use of symbolic meanings plays a fundamental role in some works of art. Getting rid of the habit and repetition of everyday life and mundane subjects and taking refuge in imagination and also using the power of thought in creating artwork helps artists. For this purpose, the works of Iranian and non-Iranian artists have been used as examples and better presentations.Research method This article was written using the method of semiotics, and the method of collecting its sources was literature review.SemioticsSemiotics is one of the important forms of semiotics (Ezkia, 1396:169). It can also be acknowledged that semiotics is one of the most common and valuable research methods. And in fact, it can be claimed that semiotics is a method that every researcher is somehow related to. In this method, there is no need to collect information. In fact, the information already exists and only needs to be deduced or analysed. In this method, the role of the researcher's thinking is more than his theories and information (Saroukhani, 2013: 279). In fact, semiotics is a way of classifying signs and describing the explicit content of the message (Krippendorf, 2013: 217). Semiotics is a method to recognize and highlight the important points of a text (or photo, video, etc.) (Saroukhani, 2013: 281). One of the common techniques in semiotics is the use of signs. According to Peirce, the index has a causal link with the event that is considered its sign - such as smoke, which represents fire - rather than based on a symbol or simile (Krippendorf, 1383: 57). In the qualitative semiotics method, the researcher is trying to establish a balance between description and interpretation (Ezkia, 2016:229). In short, the semiotics method has evolved into a scientific method that promises to yield conclusions obtained from symbolic and communication data. The semiotics looks for two types of reality: the reality of the data and the reality of what the researcher wants to know. These two facts do not interfere with semiotics, and the researcher must discover a way to consider analysable data as a symbol or sign.Perhaps, Stonehenge can be mentioned as the first example of the implementation of everyday things in order to create a work of art in everyday life and because of their implementation in open spaces and unpaid procedures. This work creates a kind of visual transition between the earth and the sky, but because it is made by human hands and expresses cultural concepts, it is different from nature (Adams, 1392: 19). Levitt started drawing on the wall in 1968. Painting on paper and sticking it to the wall seemed natural, but painting directly on the brick or plaster of the wall made the design a part of the architecture of that space (Archer, 2018: 73). With the difference that his paintings were not from the same wall or environment. What is considered deconstructive in Levitt's work was the use of painting on non-conventional and non-art materials (bricks or walls), which was considered a new sign for citizens. A symbol of the application of art in everyday life.There was a time when the boundaries seemed clearer than this, the work of art was one thing and the things people said and wrote about it were another. Earlier, minimalism realized that the meaning of the art object, to a large extent, lies outside itself, in its relationship with the surrounding environment. And now, conceptualism brought criticism and analysis to the scope of art creation. At one time, we only saw paintings and sculptures in exhibitions, but today documents, documents, maps, photos, program explanations, and various information constitute the works of artists (ibid.: 80).According to the mentioned examples, the present article aims to introduce works that either their subject matter or their constituent material is not taken into consideration in everyday life. But when they become the subject of a work of art, they are considered art without any deficiency, only in the form of art, be it photography or painting.In this sample of works, the representation and replacement of the everyday thing with artwork that shows the same subject were one of the concerns of the artists to create the artwork. Audiences passing by the place every day and facing the same subject that they considered normal, now only through the raw material of the artwork in the form of a photo or painting, they defamiliarize it and by showing the work. And replacing it with everyday matters, they invite the audience to reflect on everyday phenomena. The necessity of deconstruction in order to "alienate" with methods such as forming ambiguity in the meaning of the work, eliminating visual habits, performing the artwork outside the gallery, or displaying non-artistic material in the gallery and paying more and more attention to everyday life. And the praise of the real thing and the place of representation or display of the work takes place. In this article, an attempt was made to discuss the works that the artist created by using the representation of the real element in everyday life, which is considered normal and the place where the work of art is displayed and made the audience think about the work of art, its raw material, the idea of formation and the world around it invites. In fact, this representation helps the viewer to have a better understanding of the world around him and to observe aspects of it that he has not paid attention to until now. What surprises the audience of these works the most are the symbolic signs of the works that were created without the slightest change or difference from the raw material or the real thing, and by displaying on the material accepted for the performance of the work of art or other places. Art has become a work of art.

Apart from the artistic and historical aspect, the works of art tell the transmission of cultural traditions and various cases in different periods. The study of these works can be examined in the field of depictions of women in the representation of women, the way they are covered and made up, and it is important for its conceptual and symbolic, decorative and visual features. Calligraphy, which flourished mostly in the Qajar period, is important in terms of artistic style and representation of women in a European way, and it is a suitable field for studies of changes in the recognition of visual characteristics, recognition of cultural changes, and the European representation of women of this period. The purpose of this research is to investigate and analyse the portraits of Qajar women and the female gaze as a part of the performance of the representation of women in the culture of  Qajar period. The study sample of this research is a qalamdan belonging to Kazem son of Najaf Ali, the Qajar calligrapher, sold in the Chiswick auction, which contains several women in the frame, and from this point of view, it is considered special and has a feminine attitude. The level of female gaze action among the elements of the western image in connection with other symbols such as gol-o morgh has a different meaning. The connection between the elements in the image of the qalamdan and the woman's, body shows the western cultural developments and the semantic view of women. The question of this research is how the female subject is represented in this lacquered qalamdan by Kazem son of Najaf Ali and what does it mean? The research method in this research is descriptive and analytical, using library sources and examining a museum sample of qalamdan, sold at the Chiswick auction in London, and it is a qualitative research. The results of this research show that the female subject is represented with European makeup and clothing and can be seen in frames surrounded by gol-o morgh Motifs. Women in this qalamdan and in the frames are depicted individually and as two people in separate frames. The most important feature of this frame is the bold presence of women in light frames on a dark background for emphasis. The desire for cultural changes and deconstruction in the representation of women is represented in the picture frames.The representation of women in the case study shows that due to cultural interactions, authentic Iranian arts have also been affected and western patterns have been implemented in these images. In the drawing of figures in Iranian pencil cases, the main characters are depicted in specific frames. Anthropocentrism and emphasis on the physical beauty of women can be examined in these images. The representation of women in this collection is important in the sense that it is a mixture of several types of paintings in a row, portrait painting and painting of gol-o morgh, the effects of western painting in the representation of women are influenced by western culture in makeup and clothing. It is one of the cultural and social developments of the Qajar period. The portrait of young women is placed as the most important part in the connection between the images and the background painting of Qalamdan. The human presence of women as a part of decorative arts in the Qajar period is the main focus of the painting of the Qajar period and is in connection with the art of Qajar court painting. Two portraits of women (picture 2) completely shows the characteristics of a portrait of a Qajar woman in European clothes. Well-groomed women who have done their hair and neck in a western style and are far away from the traditional woman represented in the pictures. A semi-open western dress that belongs to the aristocracy and shows the changes of a court woman influenced by western culture. Women's hair decorated with flowers is a symbol of beauty and elegance, women in these two main figures are considered a symbol of Western European culture. The women in these pictures as an active agent are a strong reflection of the social and cultural changes of the Qajar period, unlike the dance of the two genders, male and female, two females are dancing with each other, and the women's clothes have complementary colors and remind of the symbolic interaction. There is a proportionality between the portrait of the woman and its framing, the confinement of the woman in the limited framing space around it refers to the inner space of the house. These frames show a feminine space decorated with gol-o morgh around the frame.The painting around the space of the female frame encloses it and covers the charm of the female space. The dark colors make the display of the frame stand out and emphasize a nostalgic aspect of the paradise garden in the past and tradition. The space of qalmadan is surrounded by flowers and bushes and paintings of flowers and chickens, but basically these motifs are in the background and only women's faces stand out in the frame of the picture. The portrait of the women is located in the middle of the longitudinal and transverse frames, and the form of the placement of the frames is the direction of balance and their focus towards the frames of the women's faces. The background is painted almost dark and has colours that make the frames with bright colours more visible and more prominent to show the presence of female faces. The use of gol-o morgh in the court painting of the Qajar period in combination with painting of women is usual in Qajar paintings. In these female images, there is an authoritative look, unlike the court portrait female paintings, there is no staring at the audience, and the women’s three-quarter profile are drawn looking at the outer space or looking at each other in the main frame. The two portraits in the frame indicate the relationship between the body space and the gol-o morgh space around the female figures. The image of women in the frame is like a window or a window that is opened to the outside world. The young women's heads are turned towards each other. In the main frame, two women are staring at each other and are dancing and holding each other's hands, which reminds of a man and a woman and two lovers in western dance, but in this picture, two women are in each other's arms. And the man, according to the changes in the cultural context of Qajar painting, creates a mutual and opposite exchange of action, which shows the two lovers looking at each other in the woman's view in the picture frame, and actually creates a kind of break and violates all the laws of the past, and departs from the traditional view and represents a break with social traditions in all social cultural components in Qajar art. The woman is on the verge of entering a new space and world, and her body is in a break with the female limitations within the frame, which is represented differently and tries to show its change. It is the process of looking out of the frame of a woman. The presence of the female body in the image framing is the main theme and invites the audience from the outside into the image frame and the female world of the work. With the image of three frames of a woman, two women dancing with each other and in each other's arms, with western clothes and make-up, this frame represents a different gender identity and independence for Qajar women, and in the hidden layers of the meaning of the image, western cultural changes and depicts its influence in the Qajar world. In these frames, the woman shows her suspended state of presence and absence. A woman by the window, between being and not being enclosed in a frame and changing, shows the passing of traditions and entering the new world influenced by western culture. A woman is trying to find her identity and independence, breaking away from the traditional world of court women and trying to get out of the frame of the picture, the manifestation of the function of the female space dominates the whole representation of women in the picture, and in the frames of qalmadan, she shows herself individually and in pairs. The nature and structure of an image of the presence of women influenced by Iranian culture (gol-o morgh painting) and western painting (influenced by western makeup and clothing) shows a different genre of the presence of women in this collection, which shows the independent identity of women in the Qajar period and changes it reminds. The images that break the contrast with the traditional feminine space more than ideal feminine beauty.The portrait of young women with open and western clothes in this collection can be considered a powerful representation of women in the Qajar period and the attempt to change the space from inside to outside and to find a new identity. This qalamdan shows the way of female representation and western influences on its surface, which actually indicates the ideological and cultural functions of the Qajar society inside and inside it in a hidden way. The structural and formal connection of women in the picture frames, the connection with the painting space of gol-o morgh, the representation of a bird (morgh) looking at a flower bud (gol) can be a metaphor for the male gaze. The woman looks out of the window frame, the vast space that exists outside the feminine enclosed frame. The relation that has been created between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the relationship between Iranian and European meaning of women's world. The image of a woman between Iranian and European women, the feminine attitude about the qalamdan as the main subject in the image space is one of these. Framing around women is a metaphor of the outside world that women consciously tend to change like western clothes. All these concepts are signs of the changes in women's thinking in the Qajar period arising from social changes, the influence of Western culture in social studies, which has shown itself in the interpretation. It shows a different meaning in the eyes of women, which can be seen in the faces of these women on qalamdan. In studying the shape of the part where the ink is stored in the pencil case, it can be mentioned that it is made of silver and is in the shape of a fly, which is very realistic and drawn in detail.Applying a different space to women compared to previous works in the form of qalamdan is one of the important points in the study of this one. The effects of European culture in the painting of this painting can be seen in the framing and the way women are represented in their facial appearance, make-up and clothing, which was considered by the illustrator. The use of dark colours has tried to create a visual dimension in the picture frame and emphasize the subject of women in the picture frames. The painting has separate frames showing women as the main elements in the image. Paying attention to women's body and drawing its features, paying attention to the placement of women in the image frame, emphasizing human physical beauty and focusing on women as the main and central motifs, the central body in these paintings can be investigated. The nature and structure of qalamdan influenced by Iranian culture in the representation of women shows a different view of women, which reminds the independent female identity of the Qajar period. The images that, more than women's beauty and having the ideal face of women, break the confrontation with the male world and the desire to change it. The framed faces of young women in European clothes and naked in the upper part of the body can be considered as an attempt to change the inner space as an open space for women and to try to get out of the safe space and to find an identity. The way women are represented in this book and the display of western influences indicate the functions of ideological and cultural changes in the Qajar society. The structural and formal relationship of women in multiple frames of the image is related to the outer space. The woman looks out of the window frame from the inner and closed space, her gaze is on the vast space that is depicted outside the female enclosed frame. The relationship between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the connection between the Iranian and European forms of women. The Iranian-European woman and the feminine look at the space of this qalamdan reminds of the changing space and transformation of women in the Qajar period and the desire to break the framing space around women, all these concepts can be signs of changes in the world of women, not only in makeup, and cover. The representation of women in the frames of this book originated from social developments, the influence of western culture in the social demands of women, which is represented in the image and its components.

Considering the rapid development of technology and its tremendous impact on people’s way of living today compared to a few decades ago, the advent and growth of social networks, television, cinema, etc., has stimulated global attention to the indispensable role of images in human communication. The ability to analyse images and works of art from an aesthetic perspective may not be a sensible expectation from the public. However, since images are being produced and reproduced on a large scale by mass communication media and social networks, and due to the development of graphic software that has increased the speed of image production, images have become powerful and effective communication tools. Consequently, the way images are produced, interpreted, and circulated, as well as the target audience, lead us to the conclusion that they serve functions much different from those of the past. In the 21st century, images have created such a dense image space that it has transformed human communication from being word-oriented to image-oriented. Nowadays, images are used as widely as words and are even more powerful in conveying meanings and facilitating communication. Undoubtedly, we live in a world dominated by images, and regardless of the text and context in which they are produced, images have a strong and captivating expression that exerts control over us; we encounter virtual realities that consist of moving images, not just in front of us, but we feel ourselves within them! Visual spaces shape the users' identity and convey the values and meanings promoted by centres of power, wealth, and media instantly. Therefore, it is essential to possess the necessary skills to comprehend and interpret the visual spaces that are poised to capture the minds and thoughts of people so that through developing curious attitudes and strong arguments, we can engage in thinking independently. In the age of globalisation, due to easier communication, many institutions, including business centers, political institutions, mass communication media operators, and educational centers are interested in images. However, it is crucial to remember that although the methods and speed of producing images and their respective knowledge have developed, thanks to technology, visual literacy and interpreting images from the audience's point of view have not grown and developed correspondingly. When faced with images, the audience do not typically notice the associations and hidden messages sent by their producers; they do not have enough skills to read and interpret pictures, because they find communication obvious and do not feel the need to achieve visual literacy and the required skills. On the other hand, educational institutions and centres responsible for developing visual literacy have not kept up with the developments in image production technologies and have failed to adequately incorporate the acquisition of visual literacy into their agenda. Prioritising education and acquisition of visual skills seem necessary not only at different levels of education but also for all members of society. Therefore, the importance of developing visual literacy and utilising it effectively necessitates that educational and research institutions seek solutions and plan accordingly. This will enable the audience to avoid visual exploitation by gaining visual literacy as well as the necessary skills to accurately understand the meanings conveyed by images in diverse interactions. Through this process, individuals can discern both explicit and implicit meanings of images using tools of the semiotic system.  The significance of conducting this research lies in the fact that it tries to develop visual literacy, and it aims to investigate and qualitatively assess the feasibility of using semiotics in acquiring and developing visual literacy for all image users. The present study attempts to answer the following research questions: 1. Does semiotics, as a method of text analysis, provide the necessary tools, materials, and structural principles for the development of public visual literacy? How can the tools and methods of the semiotic system be used to develop and teach visual literacy? 2. What novel dimensions does visual literacy include in the era of globalisation, characterised by technological developments? Research conducted on visual literacy in both Iranian and non-Iranian contexts also indicate the growing importance of acquiring visual literacy in the era of globalisation.This study attempts to explore models for interpreting images using a semiotic system. Semiotics is referred to as a research method, particularly in the discovery of implications and connections within different texts that allows for the exploration of hidden meanings beyond surface ones. Therefore, by referring to the views of Ferdinand de Saussure, Roland Barthes, and other scholars in this field, as well as research on the development of visual literacy, from a structuralism in some aspects and functionalism in others within the framework of the semiotic system, and with an emphasis on visual syntax and transcending formal elements that constitute the visual form and structure (iconography), and by providing a comprehensive definition of visual literacy, this study serves to examine the structure, contexts, and possibilities of the semiotics approach. This framework can then be applied to image interpretation and the development of visual literacy. Initial investigations have shown that the structure of the semiotic system of an image can be divided into synchronic and diachronic relations, contrasts and associations, connotative and denotative meanings, figurative languages, metaphor, and address, and finally encoding and decoding. This indicates that the semiotic approach possesses the necessary tools, materials, and methods for the development of visual literacy by transcending the linguistic system. Furthermore, since a significant portion of images is based on the medium of photography, out of which the selected examples in this article are selected, this study also delves into the semiotics of photography. The hypothesis in this paper is postulated based on the premise that the structural characteristics of images possess the necessary capacity and capability for growth and development within the framework of the semiotic system.This study is descriptive-analytical in method, and it uses library-based documentation as well as online sources. Data analysis is qualitative and content-based, and the samples of this study includes the images published on social networks, reputable websites, and art works out of which some images are selected to determine the feasibility of the analytical exploration plan.One of the results obtained in this study is a comprehensive definition of visual literacy, which, as for the writing system, is not merely limited to initial reading and writing. In other words, in addition to paying attention to the principles of visual grammar and syntax, the structural characteristics of it necessitate the use of mental abilities such as analytical power, analogy, induction, reasoning, synthesis, explanation, interpretation, inference, criticism, and creativity, and the semiotic approach possesses the necessary capacity for the growth and development of the mentioned mental abilities. Therefore, with a methodological insight into this knowledge, and using its tools and structural principles that are made feasible by transcending beyond the linguistic system, and emphasising the pictorial syntax, such as the axis of synchronic and diachronic relations of the image (one of the primary axes of the semiotic system) as well as the principles of contrast and association in the image, which are basically meaning generating, and rhetoric principles such as metonymy, metaphor, oratory, denotation and connotation, and code words in the image, it can be concluded that a fundamental interpretation of the images can be obtained. The results show that the semiotic approach has the required capacity to teach and develop visual literacy for the public. Finally, it is suggested that planning and educational centres pay due attention to all potential approaches and methods to provide an organised and comprehensive practical framework for developing visual literacy.

Visual communication, is one of the most powerful communication tools of the day, whereby one can send messages of all sorts using images, symbols, colours, information, and emotions. This is one of the old forms of communication that man started doing when he began depiction. With the development of modern digital technology and tools, it became the primary method of communication. Visual communication is a high-power tool that can be applied in both advertising and marketing, as well as in the domains of education and organizational communication. Therefore, the topic of human communication has always been open to different discussions. On the other hand, the various definitions of graphic design show that media and communication and facilitation of communication have always been a priority in this media and it has a decisive role in the main functions of graphic design such as information, identity and advertising. Since the transfer of meaning also occurs in the process of this communication, the problem of the transfer of meaning in this context becomes relevant. Among the platforms of meaning transfer, we can mention the subject of semiotics. This concept, which has been developed under the discussion of linguistics, has also expanded in the field of visual arts and different theorists have presented their opinions in this field. In this regard, Roman Jakobson, one of the theorists in the sphere of communication, has specified the six aspects of communicative acts in this field. The present research, which aims to identify the aspects of Jakobson's communication theory in contemporary cultural posters of Iran, seeks to answer the question: How have designers from Iran used Iranian components per Jakobson's six principles to transmit and created meaning among the audience?

This qualitative study comprises two methods of visual content analysis based on semiotics according to Jakobson's theoretical approach to communicative functions. It is showcased through a descriptive-analytical method. This theory includes six communicative functions: referential, emotive, conative, poetic, phatic, and multilingual. In this research, these six functions are used to analyse 12 posters from the Iranian culture, chosen carefully to have two posters for each function. Research for data was conducted via the library, documentation, and references from source materials that include books, credible articles, theses, journals, and periodicals.It should be noted that the limited number of works does not give a comprehensive and flawless judgment of the approach of Iranian graphic designers with their audience in the form of Jacobson's opinions, also among the initial efforts of every professional graphic designer is the impact of his work and preserving its artistic indicators. These two are summarised in the form of two functions of Jacobsen's six functions, i.e. effective and artistic (aesthetic) functions. In other words, it is expected that every graphic work should have at least two effective and artistic functions. On the other hand, in some of the reviewed works, two or more of Jacobson's six components are seen to be related, but in the discussion section, they are discussed according to the case. This research seems necessary because it has categorised and analysed the Iranian elements of Iran's cultural posters based on Jacobson's theory.

The most relevant research in this area is written by "Fatemeh Asgari" (2022) in the article entitled "Ashura Announcements (2000s and 2010s) in Iran: Explanation of Birds Role with Jakobson's Theory". She has studied and thought over different examples of the posters involved in the theory through the six perspectives of Jakobson's theory. Concerning the fact that Jakobson's communication theory has been studied and interpreted by many scholars, this paper, however, holds a particular viewpoint in that, it looks at Iranian elements through the lens of Jakobson's communication theory. Also, Nafiseh Rezvanizadeh (2014) in her thesis entitled "Application of semiotics in the process of formation of visual signs" under the guidance of Dr. Afzal Tousi at Alzahra University, with the discussion that how semiotic theories can help to design a sign and provide a standard for it has listed the standard scientific factors of sign design. He discussed the opinions of semioticians and its comparison with visual signs, one of these theorists being Roman Jacobson. Alireza Yazdani (2016) in the book "Introduction to Contemporary Graphic Semiotics of Iran" discusses communication and communication actions through graphics and while explaining it through graphic elements such as posters, signs, notices, etc., by combining knowledge of semiotics, patterns has examined the relevance of Roman Jacobson's theory. 

The examination of the works under consideration highlighted that among the communicative aspects in the Iranian cultural posters, the referential function was depicted in one work by explicit denotation and in another by implicit denotation. The image of Iranian miniature paintings for the exhibition of contemporary miniaturists illustrates explicit reference. At the same time, the font of Nastaliq symbolizes an implicit reference to Iranian visual culture for the poster of Iranian culture. Moreover, as for the emotional function of the logo design, I used the client's and my values and ideas, represented through the symbols and cultural elements taken from the ancient and Islamic Iranian eras and other symbolic elements. Besides that, in Iranian visual culture, colours were also the primary source of the content.The conative function in the analysed works was shown through the use of different objects of everyday life to draw attention and link it with the Iranian book decoration elements in one work and, in another work, the use of painterly layout and its connection with the subject in an explicit and similar denotation to the Iranian book decoration in a modern framework.However, the Persian script and the khaki colour, a traditional Iranian colour, provide a symbolic meaning for the work using implicitness. The poetic function was achieved through compositional and structural integrity in the two analysed works, utilising two Iranian cultural themes: Carpets and books as decoration elements and writings and colours that are the same as traditional Iranian ones.Furthermore, phatic function is also presented in the two studies alongside Iranian forms and colours, Persian literature and poetry in the form of Nastaliq script, which implies that literature and calligraphy from Iran are appropriate means of building an empathetic relation with the viewers, even in the field of visual art.The work about Persian letters was created as an ideogram with a hidden and implicit meaning in one of the works. The word 'traffic' was repeated in Iranian calligraphy exercise books. In the other work, the multilingual expression was done by mentioning the concepts and elements of Iranian visual culture, where, in addition to the multifarious use of Iranian symbolic elements, colour also had symbolic functions. As a result, it was clear that the Iranian cultural posters with a visual medium serve as Jakobson's linguistic communicative aspects. Thus, elements like colours, symbols, and text were converging and artistically combining to communicate with the poster's audience, and as a result, cultural messages were being conveyed. Consequently, it could be concluded that Iranian designers have created a dialogue with their audience by using different communicative strategies, including the context and background, and they have depicted the theme through the graphic medium, like other parts of the world, and represented their identity (as designers), local and regional identity. Based on this, Jakobson's six-fold communication framework, can be outlined and explained through the examples in their works.Therefore, the outcome is that the language of humans, which is articulated through the use of both written and visual symbols, is culturally specific in each culture and can both encode and decode depending on the context of that culture. In Iranian cultural posters, Jakobson's communication function has been represented by the codes of Iranian visual culture through the most frequent use of Persian calligraphy, Iranian book decoration, Iranian carpets, Iranian architecture, and Iranian mythology according to the subject, implicit and explicit denotations. It appears that among the limited cases taken into consideration of Jakobson's six elements, the most critical function for the audience is the poetic (the message is emphasized), phatic (the communication is facilitated), conative (the message is persuasive), multilingual (the encoding process), emotive (the sender's inner thoughts are expressed), and then referential (the process involves the subject) functions.

The expressive theories emphasise the manifestation of emotions and inner states. Based on this approach, the artist seeks to communicate their feelings to the audience using visual elements such as line, surface, texture, and colour. According to expressive theories, art is the expression of emotions and the release of feelings. Essentially, art disseminates and transmits emotions. Benedetto Croce and George Collingwood are among the theorists who have articulated theories in this realm. Therefore, the artist seeks to manifest their emotions while creating an artwork. It is worth noting that the creation process is not a sudden outburst or release of emotions but often occurs gradually. As evidenced by examining Persian paintings, some Iranian paintings possess characteristics that provide a foundation for studying the role of emotions. This research aims to explore the feasibility of expressive theories of art for Persian painting and to determine the role and significance of emotions in creating these artworks. In this regard, the present study raises the question of what role emotions play in creating Persian paintings. To answer this question, three paintings from different historical periods have been selected: "The Funeral of Isfandiyar" from the Great Ilkhanid Shahnama, "Mourning on the death of Timur" from the Timurid Zafarnama, and "The Old Man with a Brown Robe" by Reza Abbasi which belonged to the Ilkhanid, Timurid, and Safavid eras respectively. In the Great Ilkhanid Shahnama, for the first time, the subjects chosen from the text, do not merely translate literature into painting but artists strive to depict interpretations of the events of their time beyond the text. Additionally, the painting scenes in this Shahnama reflect the events, occurrences, and intrigues of the Mongol court. Examination of the paintings in the Great Ilkhanid Shahnama reveals a noticeable lack of uniformity and coordination in the miniatures. The Great Ilkhanid Shahnama somehow represents the Mongol era. In this Shahnama, the artist subtly relates the stories and narratives of the Shahnama to the prevailing conditions of the Ilkhanid era. In general, this Shahnama emphasises the legitimacy of the Ilkhanid dynasty, depicting their deep confidence even as they approached their collapse. During the creation of the miniatures in the Great Ilkhanid Shahnama, Iran was politically tumultuous. What stands out in this version of the Shahnama is the artists' enthusiasm for depicting human emotions and human states, particularly in expressing heroic themes and mourning scenes.The painting "Mourning on the death of Timur" is from the Timurid Zafarnama. The Timurid Zafarnama is a historical book narrating the life of Timur from its beginning until his death, previously compiled by Nizam Shahi and titled Zafarnama, based on the daily notes of Timurid chroniclers. This version contains 24 paintings depicting feasts, battles, and court ceremonies. The paintings in this book reflect the characteristics and style of Kamal ud-Din Behzad's works in terms of human posture design, composition, and the structure of rocks. The painting "An Old Man with a Brown Robe" is by Reza Abbasi. During the reign of Shah Abbas, the capital was moved from Qazvin to Isfahan, and a new class of wealthy merchants emerged in the city, forming part of the art patrons who displayed new tastes and preferences. Therefore, artistic production became independent of the court, and artists gradually distanced themselves from the tradition of book illustration. Consequently, the aesthetic system of Persian painting transformed during the Isfahan School. During this period, Reza Abbasi developed a style characterized by precise line work and delicate designs that varied in line thickness and adequately represented volume. Reza Abbasi distanced himself from the court for a time, although he returned and spent 24 years at court. In the first twenty years of his artistic life, his works were filled with light, speed, and optimism. However, after leaving the court, Reza Abbasi's works changed, becoming more chaotic and crowded. It seems that examining these three works provides a foundation for determining the role of emotions in Persian painting.Investigating artworks using theories is necessary to understand how Persian artist incorporated emotions into their works. This study aims to analyse Persian painting from the perspective of expressive theories in art and determine the role of emotions in creating these artworks. The research method was descriptive-analytical, and the data were collected using library and internet studies to answer the research question. This study explored the role of emotions in creating Persian paintings. In this regard, the artworks were analysed from the perspective of expressive theory. The selected case studies included three paintings: "The Funeral of Isfandiyar" from the Great Ilkhanid Shahnama, "Mourning on the death of Timur" from the Timurid Zafarnama, and "An Old Man with a Brown Robe" by Reza Abbasi from the Safavid period. These paintings were chosen because their subjects provide a suitable basis for examining the research question. The first painting belongs to a period in Iranian art history where the rules and frameworks of painting had not yet fully formed and stabilised. The second painting corresponds to a time when the rules of Persian painting had been established. For the third one, it appears that the established rules of painting gradually underwent changes. Initially, the expressive theory of art was addressed, and then a qualitative method was used for data analysis. It seems that these paintings from three different periods display similarities and differences. The study of these similarities and differences reveals that the two paintings "The Funeral of Isfandiyar" and "An Old Man with a Brown Robe", which diverge slightly from the established rules of Persian painting, generally exhibit more similarities. One of the most related similarities between these two paintings, which deviate slightly from the established rules of Persian painting, is the more tangible depiction of emotions. Conversely, the painting “Mourning on the death of Timur" shows differences compared to the other two works. These differences and similarities can be examined in aspects such as visual elements (components such as line, surface, and composition), the context of artwork creation (factors such as relationship to the text, court patronage, commissioning, and influence from other countries' art), human figures, and the artist's individual feelings and experiences. According to the examination of paintings, some examples allow viewers to investigate how emotions are depicted. Studying how Persian paintings were created reveals that the artist's specific vision takes priority, and the personal emotions and experiences of the artist play a minor role. Factors such as text illustration, the importance of the commissioner, and court patronage contribute to this. Ultimately, it can be concluded that whenever Persian paintings deviated from their established principles and rules, emotions, within the framework of Iranian miniature painting characteristics, played a more prominent role. Additionally, Persian paintings were not based on the representation of reality and the visible world. Even though some paintings depicted emotions, showing emotions was not a priority for artist.

Fabric weaving stands as one of the oldest handicrafts in Syria. Hand-woven, Damascus brocade fabric is one of the world's most precious silk fabrics. Syria’s ancient textile industry developed during the Islamic era. In the past, the brocade fabric was used to decorate women’s clothes and in parts of men’s clothes. This fabric was commonly used in interior decoration for furniture covers, curtains, and luxurious decorations. However, its usage has declined in the current era as artificial silk threads have replaced natural silk threads. Nowadays, it is produced using industrial weaving machines.There are two main styles of brocade fabrics, distinguished by their patterns. The first style showcases motifs influenced by different civilizations, descriptions of novels, and historical epics that were introduced to Syria through silk and trade exchanges. The other type is brocade fabric with motifs related to the elements in the environment of Damascus. It is divided into two types: A) brocade fabric with plant motifs inspired by nature, plants, and trees of Syria. B) Brocade fabric with geometric motifs inspired by Islamic art such as arabesque. This research focuses on the motifs of the second type.Damascus brocade fabrics often feature woven geometric motifs that can be traced back to the emergence of Islam and arabesque art. These motifs, rooted in Islamic culture, hold meanings and symbols that reflect the vibrant history and civilization of Syria.Damascene silk brocade fabrics are classified as an element of Syrian heritage; because fabrics containing different motifs and symbols are a cultural and social heritage that reflects the details of the life values of its time. The purpose of this research was to explore the meanings of selected motifs found in natural silk fabrics mixed with gold and silver. These motifs had not been previously investigated and are considered part of Syrian culture.This research examines the cultural-Islamic significance of geometric arabesque motifs in Damascus brocade fabric. It employs Erwin Panofsky's iconological approach to answer the following questions:What do arabesque motifs symbolise in Syrian brocade fabric?Which motifs in Syrian fabric belong to Islamic culture and which are unique to Syria?What is the value and importance of the designs placed on the meticulously woven silk fabric?In this research paper, we explore a specific cloth with geometric arabesque motifs. This cloth is mentioned in Florence Oliveri's book and can still be found in Syrian markets. To understand the symbols of the selected artwork, three stages of description, analysis, and interpretation were conducted.To understand the intrinsic meaning of brocade fabrics, the motifs are examined and digitally redrawn, followed by analysing each element individually and interpreting the inscriptions.The presence of geometric arabesque motifs on silk fabrics carries cultural and Islamic significance, symbolising life, fertility, and the pursuit of spiritual enlightenment. The motifs of geometric arabesque art have cultural and religious meanings, which were determined during the interpretation stage. The components and whole motifs definitely rely on Quranic verses as a reliable reference.The results of this research demonstrate the significant role of geometric arabesque designs in the beautiful Syrian brocade fabric, which can be categorised into two groups: one consists of the patterns that are the geometric evolution of an Islamic knot and are part of the overall culture of the Islamic world. The other one is a cultural addition to the main role like the sun and the Damascus rose in Syrian culture. Arabesque art motifs were found to possess cultural and religious meanings, with Quranic verses serving as the most reliable reference. In the contemporary Islamic era, Syrian textile artists and designers utilised geometric motifs to create visions abundant in symbols and principles.The motifs have evolved to showcase a geometric composition, intellectual harmony, and symbolic unity while maintaining a variety of motifs. Geometric motifs depict symbolic and supplementary elements that arise from the philosophy of monotheism and sincerity in obeying and worshiping the Creator and are a means of expressing divine unity. In his works, the artist demonstrates a preference for creating general compositions that symbolise fertility, beauty, and modernity in life. Cultural and religious values deeply inspire the spiritual aspects of this artwork through obedience and understanding so wearing this fabric as a dress is an honor. Brocade textile is a precious fabric of silk with gold threads, which is seemingly associated with heaven. Islamic motifs on silk fabric hold significant value and are considered as dignified as the clothes of the people of heaven, as mentioned in the Holy Book of Muslims. This relevance highlights the significance of the profound meanings of the motifs of this exceptionally exquisite fabric and the need to preserve and revive it. The current research proposes to circulate this precious fabric in the textile industry to preserve its artistic values full of meanings and prevent its destruction. Geometric arabesque on Damascus brocade fabrics are very suitable for formal religious gatherings because of their monotheistic symbols.

Today, graffiti is considered as a street art that is carved with paint, brush, spray, stencil or with various tricks on walls, vehicle bodies or spaces, and in which the message of the oppressed or deprived class of society is reflected. Urban space has been evaluated by thinkers from two physical and social aspects. This means that the view of architects was mostly focused on physical studies and social studies were from the perspective of urban sociologists, planners and urban geographers. Graffiti is the product of the last decades of the 20th century in America. But the political murals of Athens in the contemporary period go back to the occupation period of the Axis powers in 1941, the civil war of 1949-1941 and then the dictatorship period of 1974-1967. In these periods, it is different from the modern concept of graffiti as an art form. A new form of Athens’ graffiti appeared in 1998 at an international festival celebrating Athens' winning bid to host the 2004 Olympic Games. From that period until now, the walls of Athens have been the stage for the transmission of political messages. So that this city has been described as "the most stained and saturated city in the world".Until the 20th century, art, philosophy, science and social institutions were not separate from each other, the urban space represented the community and there was no difference between the form of the urban space and its function. With the beginning of the 20th century and the spread of modernism, modernism considered the urban space to be the result of the social functions that take place in the city, and relying on functionalism, the separation of urban elements, zoning and dividing the city into four main functions of residence, work, leisure and commuting left the urban space in the hands of oblivion. In fact, modernism considers the existence of any cultural and historical information in urban spaces not only unnecessary but also harmful and uses all its efforts to erase these works. This is the achievement of modern rationalism in modern times. In the sixties, the modern attitude towards urban spaces, which assumed it to be something infinite and abstract, was questioned, and the modernist view of urban space was questioned, and since then, urban space in its true sense was raised again. In new perspectives, the urban space is a space full of crowd and includes various economic, social, political and cultural uses and a new understanding of the space of perception in the fields of philosophical, psychological and sociological thoughts. is presented. The experts of this period consider urban space to be the result of the art of communication and believe that since space is nothing but society, changing the environment means changing social relations. Graffiti, as a form of modern art, which, like many other types of art, has its roots in the depths of history and prehistory, has the deepest social characteristics of the place where it is seen. Social issues may appear in different ways depending on the cultural, political and geographical features of a region. Group ritual gatherings, traditional or classical shows, singing and hymns, etc., each one shows a form of art in which the culture of that people can be evaluated. Graffiti is one of these forms of art that is more connected with the modern urban space. So that sometimes it is felt that some citizens use it to pretend to enter the modern age and break from the previous traditional atmosphere. Graffiti art has a common root in the history of the West and the East. Athens graffiti were the product of a protest movement in response to the deep economic crisis of Greece in the last one or two decades, which were different in context, how they were presented, and the subject and content; but they were all a protest reaction to a situation that was not managed. The purpose of this research is to know the experience of the Athens’ graffiti movement as a function of urban art in overcoming the crisis as a modern method of protest. This research has a theoretical approach in terms of purpose and is descriptive and analytical in nature; The author has purposefully selected 27 works from Athens’ graffiti. The provided data based on documentary and field studies are analysed with a qualitative method. The artistic experience of chaotic Athens with its graffiti may not be very pleasant to the mayor and visitors of this city, but for those who have the experience of the war-torn cities of the Middle East, this experience has been a fascinating period. Athens’ graffiti artists have considered this city as an ideal place to express their requests; with the new attraction it has created for tourists and foreigners, the city also shows an artistic reaction from the intellectual sublevels of its own society. These cultural and political views in which they are crystallised are interesting for many foreigners and they also find a part of their contemporary history in them. Among the graffiti works, there are messages with radical anti-materialist, socialist, anti-Nazism and fascism content. The Greek government's response to graffiti is not only directed at its content, but also includes the volume and size of advertisements. They had to accept the new look of the city and then appreciate some works of art; By explaining that they were forced to distinguish between art and the labels without aesthetic value that they were determined to destroy. From the very beginning of the new wave of graffiti design in Athens, parts of the government also agreed with it. During several decades of activity of graffiti artists, the existing works are now recognised as symbols and signatures of Athens, and government institutions hold ceremonies in their commemoration from time to time. Athens' graffiti boomed after the country's Great Depression. In them, the protesting cry of the voiceless class of the society against the existing situation was clear. In 2009, the first aspects of Greece's economic collapse were seen, and the government declared a high budget deficit and received financial aid for reforms from the Eurozone and the International Monetary Fund. The first reactions of the society towards the economic strictures, the next year in 2010. A year later, private investors forgave half of their outstanding claims from the government; but an opening was not achieved and the government changed. In 2012, the second foreign support package was injected into the Greek economy. But in the same year, the Greek government changed for the second time and again for the third time. In 2013 and 2014, austerity measures intensified and protests were formed accordingly. In the first month of 2015, for the fourth time, a new leftist government led by Alexis Tsipras took office. He also put the capital control program on his agenda. In the same year, a referendum was held and people voted against these plans; but the ruling party turned to new austerity reforms. In 2017, the International Monetary Fund announced the end of aid programs to Greece, and in 2018, Europe joined this decision. The international financial aid packages did not lead to financial stability and regulation of the economy, but instead led it to a long-term deep recession and skyrocketing unemployment. The effects of the austerity packages weighed heavily on low- and middle-income households, leading to deep poverty for the working and "ruined" middle classes, upward redistribution of wealth, the closure of thousands of small businesses, and a dramatic decline in living standards for the majority of people. With the conducted investigations, three spectrums of Athens’ graffiti performers can be identified. In the first row, there are parties. They usually do a large part of their goals and messages not officially, but through their fans. Due to the legal aspect and party responsibility, they refrain from destructive methods and present their message often in relatively appropriate ways. These messages often appear on public spaces under the control of the government and in the urban space at certain times when election campaigns are peaking. The mentioned economic collapse of Greece has provided the necessary social context for the slogans of leftist parties. Together with the radical nationalists (although both of them are opposites), they make strong slogans for fundamental changes. The second range of performers consists of six political, citizen, anti-totalitarian, religious and ecological groups. Religious messages in Athens’ graffiti are considered the third spectrum. Religious images with moral themes are often executed by experienced graffiti artists. The third spectrum belongs to the works of individuals; whose voices do not resonate in any group, they do not find any significant groups of like-minded people or they cannot be proposed in public spaces at all, and it may even have consequences for them with legal prosecution.

In the beginning, intertitles were handwritten on a completely black background. The contrast between the black background and white text quickly attracted the audience's attention to the text. Most of the intertitles from this era, regardless of the film genre, were written in a single font and typography style, solely intended to convey information to the audience without much emphasis on letter style, angles, etc. Around the 1920s, alongside the use of black backgrounds, the use of textures became common. Staring at white text with such high contrast against black backgrounds for extended periods strained the viewers' eyes. Changing intertitle backgrounds from black to dark gray somewhat alleviated this issue. The textures used in intertitles of this period resembled carpet or fabric textures, with white letters written on them. Around the same decade, both simple linear frames and frames with curved lines were used for intertitles. By the mid-1930s, most films had sound and dialogue, marking the end of the silent film era. The relationship between films and audiences and the language of film changed during this time. With the advent of sound in films, graphic design in intertitles did not entirely disappear from the cinema industry. In fact, a type of intertitle known as descriptive intertitles became obsolete, but descriptive intertitles found their place in the filmmaking industry and the visual language of films. Directors could still strategically use descriptive intertitles as a tool for better narrative communication, even without the sound element. Although intertitles underwent changes due to the introduction of sound in the film industry, opening and closing titles and filmography were not greatly affected, as they conveyed a message that did not depend on sound. The use of intertitles was no longer necessary, and this made their creative use more limited. This was a significant moment in determining the power and position of graphic design in cinema and filmmaking. This research aims to examine the types of subtitles and graphic elements present in Wes Anderson's films and to categorise the various uses of graphics in cinema. In this regard, the subtitles of Wes Anderson's films are analysed based on five components, including types of subtitles, movement, insertion techniques, the importance of subtitles in relation to film narration, and their relationship with other film elements. Then, the graphics used within them are analysed based on three components: the relationship of graphic elements with film narration, the presence of graphic elements as a uniform, and the type of graphic element used in subtitles. This qualitative research, conducted using a descriptive-analytical method, seeks to answer the question of what role subtitles and the graphics used within them play in shaping the visual identity of Wes Anderson's films. The findings of the study indicate that the use of graphic elements in the form of a uniform design of subtitles and their repetition can shape the visual identity of the film in the viewer's mind. Colours, fonts, and graphic elements used in the visual identity and subtitles of the film are influential in determining the film's time frame. Research and access to the film script are necessary for designing graphic objects and subtitles within the film. After examining films such as "The Grand Budapest Hotel" and "The French Dispatch," it appears that the director's personal style has been influential in shaping the visual identity of the films. Subtitles and graphic elements used in these films play a vital role in creating cinematic spaces, conveying hidden messages within the film. These elements contribute to establishing a distinctive visual identity for the films that remains memorable in the minds of audiences, utilising specific colour combinations, unique fonts, and creative graphic designs. In "The Grand Budapest Hotel," subtitles and graphic elements, characterised by saturated colours and precise designs based on the screenplay, help evoke a sense of nostalgia and recreate the atmosphere of the 1930s. In a film like "The Grand Budapest Hotel," which spans different decades and locations, the presence of time and place subtitles significantly influences how viewers interpret the film's narrative in a shorter timeframe. In "The French Dispatch," graphic elements and subtitles are used in a manner that reflects the cultural and artistic atmosphere of France in past decades. The film employs complex graphics and a variety of colours inspired by The New Yorker magazine, successfully creating a dynamic and engaging visual identity for its audience. The visual identity of the film is based on the cover and pages of a magazine designed by Erica Dorn, inspired by The New Yorker magazine. According to Dorn, there is no complete physical version of this magazine; only the cover and pages used as subtitles in the film are designed, and the rest of the magazine exists only in the imagination of the audience. The colours used in "The French Dispatch," like other Wes Anderson films, are bright, cheerful, and highly saturated. The colour palette of this film is composed of warm colours, depicting the city in shades of cream and brown. Wes Anderson maintains symmetry in most of his films, aiming to centre characters, texts, and graphic objects in the frame. Ultimately, this research concludes that intelligent use of graphic elements in subtitles can strengthen the visual identity of films and enhance their impact on audiences. These findings can serve as a practical guide for directors and graphic designers in the cinema industry to produce films with stronger and more appealing visual identities by employing similar techniques. A detailed analysis of subtitles and graphic elements in Wes Anderson's films demonstrates that these elements not only serve as decorative tools but also play crucial roles in creating and enhancing the visual identities of the films. Therefore, subtitles and graphic elements influence how viewers perceive and experience the film, contributing to a richer and more diverse cinematic experience. The choice of fonts and colours appropriate to the historical period of the film, and their repetition in subtitles, graphic objects, and opening and closing credits, significantly contribute to shaping the film's identity. The director's artistic style also plays a vital role in shaping the film's identity. The use of saturated colour palettes, vibrant colours contrasting with the film's themes and what the viewer sees, and the fonts used in Wes Anderson's films distinguish his works from others. For designing graphic elements and objects within a film, initial research and access to the screenplay are necessary. After researching the historical period and location range of the film, graphic elements and necessary objects are extracted from the screenplay and analysed for design purposes. Graphic objects can be produced manually or using softwares. Subtitles, due to their repetition throughout the film, remain memorable in the viewer's mind, and if they possess specific visual characteristics, they can greatly contribute to forming the film's visual identity. The applications of graphics in cinema are divided into three categories: opening and closing credits, subtitles, and graphic objects. The use of graphic design in film can be influential in the viewer's perception and interpretation of the film narrative, playing a significant role. The use of handwritten scripts and font design for a film, research, and designing the film's identity based on its narrative and historical period, and the use of colours suitable for the film's timeline and the director's artistic style can be powerful tools in shaping the film's visual identity. Visual characteristics used in subtitles of Wes Anderson's films are often presented in a uniform format. The use of uniformity in designing subtitles allows viewers to quickly understand the type of information presented in the subtitles within a shorter period of time. With repeated subtitles throughout the film, their uniformity and identity remain memorable in the viewer's memory. The use of graphic elements as a uniform in subtitles can be a powerful tool in shaping the film's visual identity in the viewer's mind.Keywords: Functional Graphics, Graphics in Cinema, Intertitle, Wes Anderson.

One of the verbal texts that have always been transformed into visual texts throughout the history of Islamic Iranian painting is the Nizami’s Khamsa and the romantic poem, "Layla and Majnun". Among the Nizami stories, "Majnun trip to the Ka'bah" has been an attractive subject for illustration. Illustrators have tried to convert verbal texts into visual texts, in addition to being faithful to the hypotext, they can help their viewers in inducing the contents of the verbal text with individual interpretation in the form of visual text. The individual interpretation of the illustrators in reading the verbal text has led to transformation and understanding the concepts in the visual text. Some illustrators, in order to express their ability, not in the form of the skill of transforming verbal texts into visual text, but in order to express their artistic identity, have created elements in their illustrations. The separation of these elements reveals the difference in interpretation of literary texts by illustrators. The two illustrations of "Majnun in Ka'bah" from the Herat school have a single theme, but there are differences between the visual elements of these illustrations. The current research aims to find out the difference between the elements in the verbal text and the two visual texts "Majnun in Ka'bah" in Nizami’s Khamsa, painted in the Herat School, and seeks to identify the illustrator's contribution through his interpretation in the creation of the work. Therefore, it raises the question: What differences can be found by studying the verbal and visual texts of "Majnun in Ka'bah" that are the result of the illustrator's interpretation? This research has been done by collecting data through documentation and library studies with the method of intersemiotic comparison and analysis and with Gérard Genette’s transtextuality approach. This approach is an efficient approach due to the reading and classification of relationships between two texts in separating the contribution of the illustrator from the author. The association of this research is two depictions of "Majnun in Ka'bah" from the Herat school. An illustration belonging to Nizami’s Khamsa and preserved in the library and archive of Topkapı Palace Museum, with the ID (H. 781, fol. 111v) is about 1445 AD (Milstein, 2021: 335), which will be studied in the process of formation of the research with the title text A (image 1). The second illustration belongs to Nizami’s Khamsa around 1517 AD. It is attributed to Behzad, which is kept in the British Museum Library; in the research process, this illustration is called text B (image 2). Examining the differences and commonalities of these texts has been neglected in art studies due to the perception of the illustrator's contribution and its effect on the perception of verbal text concepts, which has made the necessity of this research a reality. By analysing the themes and relationships between the texts and the results listed in tables (1) and (2), it was determined, two visual texts in intertextuality, in addition to faithfulness to the hypotext with explicit and implicit references, have considered the presence of the verbal text in the visual text, and have explicitly addressed the hypotext with a verbal quotation with borrowed and migrant elements; The illustrator of text A has increased the internal elements of the text with her interpretation. But the illustrator of text B has transformed it by depending more on the hypotext and with a serious and complete imitation in the form of Forgery, in the continuation of the verbal text with little changes, he has expressed his loyalty to its theme and content in the new situation. Elements based on the interpretation of the illustrator cannot be found in text B. In relation to the Intertextuality of borrowed elements, it is clear and obvious. The relationship of the hypotext with the hypertext in the hypertextuality is transposition by serious transformation in a new space with distortion, increase and substitution, which has led to the expansion of internal elements in the hypertext. The elements that the illustrator of text A has added to the visual text, independent of the verbal text, along with the migrant elements, reveal her interpretation of the analysis of the semantic patterns of the text language and the contents of the verbal text. The illustrator of text A has not only limited herself to the general theme of the hypotext, but has explained its content in the hypertext in a metatextual relationship. The result of the illustrator's interpretation is the creation of unattainable and supernatural concepts by adding elements based on her visual memory and mental assumptions, such as mad prayer by the Majnun, by the hands of heavenly beings. The increase of these visual elements makes the difference between the two illustrators in creating a common theme. In addition to describing and expanding the meanings, the effect of the illustrative interpretation of text A has caused the explanation of the concepts of the verbal text.

The motifs obtained from the early civilizations had a conceptual value and were not based on symbols, legends or religious rituals just to express beauty. These same values ​​and conceptual expression have turned the patterns into a kind of signs, and drawing them became a contract and symbol that the prehistoric tribes used to convey messages. From the very beginning of humanity's understanding of its surroundings, man has symbolically depicted the influential factors in his life in his handmade works. In most of the historical periods of ancient Iran, artists used the motif of the sun as a symbol and drew it on works of art, and this process can be seen in various works of art until modern times. The sun is the largest star in the solar system and is located in its center. The sun is a complete sphere made of hot plasma and is the main source of light, energy, heat and life on earth. This important fact has been revealed to man since the beginning of creation, that is why it has a significant presence in the mythology of all the nations of the world. Even in some ancient civilizations, the sun has been considered and worshiped as God and creator. When man turned to agricultural life and realised that the sun would make the earth fertile, grow plants, warm and give strength to man, they worshiped the sun. Also, in different eras, it has had different genders, so that sometimes the sun is known as the female sun and sometimes as the male sun, and it has been depicted and honored. The most popular prayer in the world is addressed to our Father who is in heaven. The sun star has always had its own special place in Iranian civilization and has had a significant and symbolic presence in culture and art in all historical periods before and after Islam. The sun is reflected in Iran's art as a symbol and symbol in different forms in the historical periods of Iran. This bold presence of the symbol of the sun in Iranian arts has always been beyond formal decoration with a belief support and the attitude of the living society. After the arrival of Islam in the land of Iran, the beliefs and teachings of the previous religions were removed or adapted to the Islamic religion with gradual changes and took place in the mysticism, thought and culture of the people of this land. The motif of the sun is considered one of the visual elements that still maintains its previous position in the art of Islamic Iran and has a special place in the art and culture of Islamic Iran, especially the Seljuk period. In ancient Turco–Mongol myths and legends, the sun is embodied as a man and a woman; That is, in one period based on ethnic beliefs, the sun was imagined as masculine and male, and in another period it was imagined as femal. Even the creation of mankind is attributed to the sun in this people. The researches conducted on the mythological texts of the Turk and Mongol people show that among these people, the sun is shown as the source of reproduction and creation. After expanding their rule from Central Asia to Egypt, the Seljuks created new conditions, a scientific-cultural renaissance in the Islamic world, especially in Iran. The cultural atmosphere of the society and the emergence of many scientists and artists made the sultans and the rich always patronise artists and craftsmen. These supports caused the emergence of a certain style and method in arts and industries. The period of Seljuk rule in Iran is another period of flourishing of Iranian-Islamic culture. During this period, Iranian art experienced a tremendous change and it led to the fact that the history of Iranian art recorded another of its most brilliant periods in this period. The art of this period has progressed in all fields and fields of art and continues and completes the art of the previous era. Art developed and expanded to its highest extent in Iran during the Seljuk period. Seljuk sultans always supported artists and scientists and tried to expand culture and art based on Iranian, Islamic and Turkish beliefs. The art of this period is influenced by the rich treasure of ancient Iranian art, Islamic art, and the art of immigrant Turks, which combined the special art of the Seljuk period. The Seljuk period is considered one of the most brilliant periods in the history of Islamic Iran in terms of the development of science and technology, art and literature. Persian language developed and spread more and more. The construction and establishment of military schools, caravanserais, monasteries, mosques, libraries and other scientific centers had a great impact on the development of culture and art of this period. In this period, great progress was made in most fields of arts and sciences. Seljuk sultans were great patrons of industry and art and gathered artists and professionals in their palaces and government headquarters in Merv, Nishapur, Herat, Ray and Isfahan. After accepting the religion of Islam according to Sharia, Iranians tended to live a simple life. Since the Islamic laws forbade the making of decorative works of gold and silver, the attention of Iranians was more focused on the making of clay works. Also, the progress of construction techniques, special elegance, skill and variety of pottery works caused the further development of Seljuk pottery art. With the development of Seljuk pottery, the golden age of Iranian pottery emerged. As a result, the potter was able to sign their name and the date of creation of his work on their pottery. The Seljuk period is one of the dynamic periods of the Islamic world in the field of culture and art. The Seljuks ruled in different regions (Iran, Central Asia, Türkiye). The support of the Seljuk rulers (presentations of Iranian scientific ministers) to artists and sages caused a remarkable expansion of culture and art in this period. Despite the extent of the political geography of the Seljuks and the occupied regions, art has made significant progress in all fields and has continued the path of ancient Iranian art. In fact, one of the prominent features of Iranian Islamic art is the continuity and evolution of different art schools influenced by the art of previous eras. In this way, the process of creating works of art in every school and period of history, in subsequent schools and periods, has continued and has taken an evolutionary approach. With this premise, examining and analysing works of art in the historical periods of Islamic Iranian art requires a theoretical approach to investigate and study the influence and relationships between works of art in different periods of this vast land. For this purpose, in this study, the intertextual approach was chosen to study and analyse the data. The primary purpose of man in making earthenware vessels was to store water and food, but over time, he gave importance to its beauty and the structure and surfaces of these vessels were a place to express aesthetics derived from their culture and worldview. Although the pottery of Iran has been studied and examined by Iranian and Western researchers in different historical periods, but the role of the sun on Iranian clay canteens has been independently studied for the first time in this research. In different historical periods of Iran, very beautiful and practical canteens were made, and in each period, the types of decorations and pictures drawn on them are different and sometimes repeated. This research seeks to understand the concepts of the motif of the sun drawn on Seljuk clay canteens. The main goal of this research is to know how the depiction of the motif of the sun in two Seljuk and Parthian terracotta flasks is related to Genette's hypertextual approach. In the intertextual relationship, it is not possible to create text (b) without the presence of text (a) or pretext. In this type of relationship, attention is paid not to the inspiration and partial influence, but to the overall impact of one text on another text. With this theoretical background, this research aims to investigate and analyse the role of the sun in two Seljuk and Parthian terracotta works. The main problem of this research is to understand the hidden meaning behind the motif of the sun on the Seljuk works, and the main goal is to understand the way and type of connection between this motif and the previous motifs from the perspective of intertextuality. This research is of a developmental type and a qualitative method. The method of data collection is using library sources and objective observation of the works, and the data analysis is descriptive and analytical with Gerard Genette's multitextual approach. This research seeks to answer two questions: Which type of hypertextuality tends more towards the influence of the drawing of the motif of Khurshid Khanum on the Seljuk terracotta canteen than the Parthian terracotta canteen? And in this process, what changes have been made in drawing this role?? In order to answer the research question, at first, two Seljuk and Parthian terracotta canteens inscribed with the motif of the sun were selected in a purposeful way and were studied and investigated in terms of thematic aspects of the period in question. Then, structurally based on Gerard Genette's dual indicators (function and relationship) it was examined and analysed and the research questions were answered. The results show that the effect of Khursheed Khanum drawing in Seljuk canteen from Parthian canteen based on Genette's typology of polytextuality in the category transposition and transposition have a serious function. The transpositions created in the bitext include changes (gender, shape, composition and color) and the Seljuk artist did not just look at imitation in creating a new and independent bitext and completed it very creatively.

Logos are tangible and special designs that are used to show a specific group, product, or service, which, in addition to referring to some concepts, sometimes also display the characteristics and identity of an institution or product, and for this reason, international companies use the company's logo to communicate effectively with their customers.One of the media that plays a role in the formation of social identity, including national identity, ethnic identity, religious identity, and global identity, is instant messaging software such as Telegram, Instagram, WhatsApp, Eita, Soroush, etc. and the like that makes communication with virtual space possible.Messaging software allows users to communicate in a task or activity or common goals and activities. Nowadays, the use of mobile phones and messaging software has affected all aspects of people's lives, and people prefer to use phones that support different softwares. This is the reason for the increasing use of smartphones and tablets. The emergence of these technologies provides new conditions for dialogue, understanding, and balance in the virtual and real world.Therefore, the need for Iranian messengers is considered not only cultural but also social and political. In this way, the messenger can play a role in displaying the identity of a society. An identity that has been affected by the globalisation of cultures with the help of the mastery of new media and communication knowledge and has undergone continuous changes. Therefore, cultural symbols that are rooted in popular culture and beliefs can be used in the design of the logo of internal messengers. This material shows that the logo design of internal messengers requires an Iranian-Islamic design. The current research aims to identify the identity elements of the Iranian-Islamic sector in the logo of domestic messengers.Based on this, the research questions are raised as follows: 1- What are the main design elements of the logo of internal messengers? 2- What is the extent of use of elements that show Iranian Islamic identity and culture in the logos of internal messengers? To answer these questions and based on the historical documents that exist about the rich Iranian culture, it is possible to find out what factors are effective in inducing Islamic Iranian identity in the logo of domestic messengers by analysing the logo of domestic messengers. For this purpose, first of all, it is necessary to identify the main design elements of the logo of internal messengers and also to determine how compatible the logo elements of domestic messengers are with Iranian-Islamic identity and culture. Messengers can be a tool to spread Iranian and Islamic values ​​in society. Also, considering the widespread cultural attack of Western messengers and various advertising tools, which are mainly aimed at weakening the values ​​and the identity of societies in general, it doubles the necessity of designing domestic messengers with Iranian-Islamic identity. And it shows the necessity of research in this case.In terms of nature and method, the current research is an adaptation of a set of qualitative methods and by relying on the results obtained from observation and study, efforts have been made to answer the research questions. The collection of information was in the form of a library and observation. The body of the study includes the logo of 23 domestic messengers, which were examined and analysed using the full number method. The studied Iranian messengers are: Eita, Soroush, Bale, iGap, Hudhud, Anar, Saina, Dorna, Zalzalek, Nazdika, Lanzor, Aiwa, Noa, Abarak, Tebian, Fanus, Rubika, Shad, Bisphone, Salam, Ring and Visgun, which were used by Iranian users until the research was conducted.Today, the role of messengers in social transformation cannot be denied. On the other hand, the dominance and influence of foreign messengers should not be neglected. Therefore, considering the risks that such messengers pose to the thoughts and culture of societies with the lack of continuity of content and Iranian visual elements, such concerns have led to the creation of internal messengers to prevent this cultural invasion and preserve the Iranian-Islamic identity. In this research, 23 logos of internal messengers were studied in terms of identity. One of the factors differentiating each logo from others is the quality of its design, and designers have used different design methods. One of the logo design techniques is using traditional motifs. As mentioned earlier, traditional motifs have various types, including (human, animal, vegetable, geometric, and written). Each of these motifs has many concepts that have always existed in Iranian culture and beliefs, which are derived from pre-Islamic and Islamic culture. Artists in logo design have tried to use these patterns and concepts in creating their works and create different patterns, some of which have symbolic meanings in their works. According to the analyses and investigations and according to the results of Table (1), in response to the first question of the research, it can be said that artists have used traditional motifs in designing the logo of domestic messengers. But among the types of these motifs, human motifs have not had any contribution and also from the other four types of motifs, geometric, written, vegital, and animal motifs have had a greater contribution in the design of internal messengers' logos. In the design of most of the mentioned logos, they have used a combination of several types of motifs. Except for the logo of 11 messengers, including (Nasdika, Wisgon, Noa, iGap, Rubika, Ring, Gap, Aiwa, Abarak, Bela, and Dorna) with a frequency of 47.82 that have used only one motif.In response to the second question and according to the reviews of the visual elements of the logos of domestic messengers, these results were obtained that elements or symbols taken from Iranian identity, culture and art are used less in their design and only their practical aspects such as design principles has been considered by the designer. Meanwhile, efforts have been made to give identity to the logo of domestic messengers, and we can mention the logo of messengers such as "Soroush, Eita, Anar, Hudhud, Shad, Salam, and Lenzo" with themes related to Iranian motifs. Patterns are taken from rituals, epics, traditions, and personalities rooted in Iranian Islamic culture, religion, history, and identity. However, considering the existing capacities in Iranian art and culture, these efforts do not seem worthy of attention and sufficient. Therefore, in response to the second question of the research, it can be said that the visual elements of the logos of the domestic messengers do not match the capabilities of Iranian culture and identity. What is important is the introduction of some foreign elements (English letters) in the design of several logos, such as "the letter “E” in the design of the Eita Messenger logo, the word Salam in the Salam Messenger logo, the letter “Z” in the Zalzalak Messenger logo, and the letters “B” and “P” in the logo of Bisphone messenger and the letter "S" is in Soroush Messenger. Also, the use of European elements such as Exponential volume (the logo of Visgun and Anar messengers) and shading (the logo of Bale, Eva, Ring, iGap, Saina, and Anar messengers) cause the association of non-Iranian messengers. According to the information in Tables 3 and 5, the Europeanism index has the highest frequency with 65.21 and the Iranian index (Archaicism) has the lowest frequency with 17.39. Based on this, it can be said that the share of Iranian-Islamic identity indicators in the collection of logos of Iranian messengers is very small.

Graphic design is a subcategory of visual communication and includes a wide range of topics such as poster design, sign, packaging, interactive illustration, digital communication, and multimedia design, which has evolved with the emergence of advanced software tools and innovative techniques, and allows designers to develop their creative performance in this area. Considering the extent and diversity of graphic design, this research intends to examine the research in this field using scientometric methods. One of the most common methods of evaluating scientific activities is scientometrics, which quantitatively examines the scientific productions of researchers and draws scientific maps. Exploring studies in graphic design is a practical way to improve the quality of activities in this field. Also, it is necessary to draw a conceptual structure using the co-word analysis method by creating an image of the state of research conducted in graphic design. Based on the investigations, the trend of scientific production in graphic design has not been scientifically and systematically studied. Due to the importance of graphic design, the current research has been conducted by identifying the existing gaps and examining the texts of this field from 1920 to 2022 in the Web of Science database. This research aims to examine the status of scientific productions in graphic design indexed in the Web of Science database and to answer the question, "What is the process of publishing scientific productions in graphic design in the Web of Science database?" It also addresses "the co-occurrence status of keywords in articles of graphic design (main topics), countries and organisations participating in the publication of scientific productions in graphic design, top journals publishing scientific productions in graphic design, the most cited articles in graphic design, and the status of scientific productions in Iran in graphic design". The research method of the present study is applied and descriptive, and it has been carried out using the scientometric method. The statistical population of the current research is all scientific productions in graphic design from 1920 to 2022, which are indexed in the Web of Science database. The data collection method is library-based, using the Web of Science database as the primary resource. The information of retrieved articles, including title, author, date, journal title, keywords, and the number of references, were recorded on an Excel CSV format file. The retrieved information was entered into Excel software to ensure the validity and reliability of the data. Also, the retrieved documents were checked to determine that they were completely consistent with the field of graphic design. All the data related to the co-occurrence of words were entered into Wes Viewer software to analyse the data related to the co-occurrence of words. The keywords used by the authors of the articles were used for co-word analysis in this research because expert researchers wrote these words, which can reflect a better understanding of the subject of the articles. In this process, graphic design researchers get acquainted with the modern knowledge and scientific productions of this field of study by presenting a conceptual map of this field. In this research, by examining the trend of publishing studies in graphic design, the co-occurrence of keywords, the leading countries in this field, the most active researchers in this area, the determination of core publications, and the number of references of scientific productions of Iran, were introduced so that the researchers of graphic design, with sufficient knowledge of the comprehensive scientific maps and the identification of the influential colleagues of the field and their scientific works, move in the main path of their research and do not get reworked. The findings of this research showed that 1364 records of scientific productions in the world in graphic design have been indexed in the Web of Science database, and publishing articles during these years has faced fluctuations. Also, the highest number of productions is in 2019, with 110 articles. The first certification published in the field of graphic design dates back to 1920, and after that, no certification was found until 1968. The same lack of publication can be seen from 1969 to 1975, and from 1975 onwards, we witness the publication of certifications in this field in consecutive years with nonstop publications. Finally, the upward trend of publishing articles in this field shows that graphic design, as a dynamic and growing research area, still has a high potential for new and innovative research. The increased number of articles in recent years and the growth in scientific research can help create stronger scientific foundations and develop new technologies in this area. The research data analysis showed 11 main topics (clusters) in graphic design. The subjects of art, computer science, education research, engineering, and architecture are the most used topics of interest to researchers in this field. These relevant thematic principles have important subjects that can interest academics and policymakers. The scientific and professional community can find a comprehensive view of the important topics of graphic design at the international level using the map of science and learn about the main research topics of this area. The results showed that American and Spanish researchers are among the main scientific producers in graphic design at the international level. Also, China, England, and Australia have the third to fifth ranks in producing these themes. Because a country is related to the origin of the institution that publishes the article, the nationality of the researchers who write the article is not considered. Iranian researchers had only nine articles in this area, which shows the low share of Iranian publications in international journals; this might be for various reasons, such as that most of the journals indexed in the Web of Science database are in English. Also, Iranian authors do not have a high level of English proficiency. It is troublesome for them to publish articles in this language. Other factors, such as the lack of financial and spiritual support of organisations and universities for the international publications of researchers and the lack of sufficient motivation of researchers, are effective in the low level of international publications. Also, the investigations related to the number of publications of the scientific productions of the organisations showed that Alzahra University had the most scientific productions among the local institutions. Among the international institutions, the researchers of the Anadolu University of Turkey and the Autonomous University of Barcelona had the most productions. By producing remarkable articles, these universities play an important role in graphic design's scientific and professional development. This can be related to the scientific and research policies of these universities, the quality and scientific capabilities of the faculty members, as well as their research resources and facilities. The findings showed that "Grafica Journal of Graphic Design" has published the most graphic design articles and is the best journal in this area. This high number of publications can refer to the importance and influence of this journal in advancing research and scientific exchange in graphic design. The introduction of highly productive journals can both help in the easy publication of the results of scientific productions and guide researchers in retrieving the required information. Accordingly, knowing the core and most cited journals in graphic design can be influential for researchers in this area. The most cited article is related to the research of Wong et al. (2005). A marked research paper in graphic design belongs to Bischoff (2017). Considering the novelty of this article, researchers can use it to write new papers. Salimi Namin is the most active Iranian researcher in this field, having written two articles. Torbati Eshaghi (2018) also had the most cited article. This research tried to draw the attention of researchers to the most important research areas of graphic design by identifying the key topics of graphic design, highly cited and marked research articles, the best journals in this area, and the status of Iran at the international level. The research findings present the general view of the scientific situation in graphic design research. There were some limitations to the research findings; this research examined the data of the Web of Science database, and other influential papers that were not indexed in this database were not included in this study. For example, the low number of Iranian articles is because Persian speakers publish their articles mostly in local journals, most of which are not indexed in the Web of Science database. Moreover, Iranian researchers may have published articles in foreign journals indexed in a database other than the Web of Science database.