نشریه مطالعات بین رشته ای هنرهای تجسمی
سال دوم شماره 2 (پیاپی 4، پاییز و زمستان 1402)

Saqanefars are religious buildings in Mazandaran province which after mosques, like Tekiyehs have both historical and cultural importance. These buildings are constructed with beams and columns in two floors with a pitched roof. These constructions are designed by various paintings and illustrations which their concept is the same as traditional architecture of Mazandaran province. Since the main focus of this article is related to dress design, only human figure designs in Saqanefars have been mentioned. during the study of the paintings of these religious buildings and the comparison with the folk paintings of the Qajar era, many similarities were observed and the mentioned similarities are more evident in the coffee house paintings. The patterns of the Saqanefars are similar to the coffee house paintings of the Qajar era, but they are far from the aesthetic criteria. The main purpose of this study is to investigate the themes and categories of human motifs of 10 Saqanefars in Mazandaran province in comparison with 10 paintings of coffee houses in the Qajar era and The main question is What are the similarities between designing customs of the Saqanefars and the paintings of the coffee houses in the Qajar era? The method of compiling this research is Comparative analysis and historical, and the method of collecting data is documentary and field research. By referring to visual documents and written sources, after studying about the structure and architecture of Saqanefars, coffee house paintings and human drawings and their classification, the similarities in the clothing of drawings of Saqanefars of Mazandaran province are investigated in comparison with coffee house paintings of the second part of Qajar era. Also, books, reliable internal journals and theses were used, and Saqanefar Kijatakiye was photographed directly.The result of the research is that both saqanefars and coffee house paintings are native artworks of Iranians, and in the second part of the Qajar era, the use of visual elements in dressing of these drawings have common and sometimes different characteristics in terms of form and content. Saqanefar motifs have been drawn by ordinary and uneducated people, they are so simple without perspectives or shadows. As well as this, the colors used in these drawings are so limited. In them, the clothes of Native people, even the clothes of innocents and myths, are drawn in complete simplicity and without any details; Unlike coffee house paintings where people's clothes are polished with details and in some cases even more variety.

Astronomy is a very old subject in Islamic civilization. The ancients believed that the stars played a great role in their lives. The twelve motifs intended for these constellations have been examined and analyzed many times from the perspective of cosmology and astronomy researchers, but in terms of the aesthetics of visual and written elements, they have not received much attention. This research has been done with the aim of determining the characteristics and visual values of the twelve celestial motifs by focusing on the images of Al-Mawalid Abu Maasher Balkhi's book using image semiotics. From this book, twelve pictures have been examined. The method used is descriptive-analytical and the necessary research information has been collected by using library and observation methods. The results indicate that the characteristics of the painting school of the 9th century can be seen in the pictures of this book. The presence of big trees and flowers, the background covered with trees and bushes, the simple composition and the limited role of the subjects in the paintings, the use of happy colors that are more specific to Iran's art of painting, such as red, Blue, green and gold and the combination of colors and the drawing of Mongolian faces are all factors that show that the illustration of Al-Muwalid book is related to the painting school of the 9th century

Hermeneutic flowology has a long history in the history of human life. Hermeneutics is the science of understanding the text and revealing and discovering the meaning hidden in the text. In this sense, the mentioned word has a history as old as human thought. It is also a tool for studying texts and works that need decoding. In this direction, hermeneutics is considered as the main approach and is open to various methods. In general, the extent of hermeneutic knowledge is related to the discovery of implicit and hidden meanings of texts. In our era, hermeneutics is considered as an efficient tool in understanding and reading works of art. A large part of applied hermeneutics is dedicated to language and art. The process of understanding the work of art depends on various elements such as the lifestyle and artistic background of the artist, the popular art style of his time, the intellectual and philosophical currents of the artist and the audience, and the intellectual and aesthetic organization of the creator and proof of the work. Due to the two-way complexities that exist in the process of creating and receiving and understanding artistic and literary works, various intellectual approaches from different spectrums of thinkers, writers and philosophers have focused on this fluid flow. Meanwhile, interpretation and interpretation are considered as two basic tools for the interpreter in the fields of reading, receiving and understanding. The current research, which is of a fundamental type and collects data through the library and the Internet with an analytical-descriptive method and with a historical and comparative approach, was written in order to answer this fundamental question: “Reading works of painting and animation as two media, What common and distinctive elements does it have among common artists?” The case study of this research is focused on paintings and animation works by Salvador Dali and Ali Akbar Sadeghi. According to the author's belief, hermeneutics is used here as a general approach, but not in a self-sufficient way, but with the help of different methods compatible with the style and context of the work of art. From this point of view, getting into semiotics, psychoanalysis, studying the biography of the artist and his interviews and letters, intertextual study between the work in question and other works, iconographic study of the work (of course, in some types of figurative art), which of course, each of them is an independent method of art criticism. represent, as methods of a general approach under the title of "hermeneutic criticism", they help the critic in understanding and comprehensively reading the work. The result is that the most suitable way of hermeneutic reading of these works is a mixture of interpreting the central intention of the artist and a special interpretation that is formed by the audience through the decoding of the symbols hidden in the work.

French anthropologist Marc Auger was the first to come up with the concept of the impossible in 1992. The impossibles are the result of the supermodern period, which are said to be places where a person experiences a severe lack of identity and the need for meaning increases significantly in this period. This research seeks to investigate the concept of these impossibles, emphasizing the point of view of Marc Auger. In this process, he first examines the period of supermodernity and its difference with the period of modernity, and then the concept of the impossible and the factors of its occurrence, and shows what characteristics the impossible has, and also deals with the relationship between the impossible and places. And in the following, some works of Kiarang Alaei are searched in the book of the fourth condition and how the concept of the impossible exists in the photographs of this photographer. The purpose of this research is to understand the concept of the impossible by emphasizing the point of view of Mark Oje in the works of Kiarang Alaei in the book The Fourth Situation. The method in this research is descriptive and analytical, and information was collected by library method and viewing images. The findings of this research show that Kiarang Alaei has been able to photograph Gilan in such a way that we can witness the features of the supermodern era and the appearance of the impossible. He has managed to intensify this impossibility in some photos in a special way. And in fact, with his art, he portrayed the characteristics of supermodernity in an era that is far from the space of supermodernity and showed the audience the impossibility.

Every cultural effect has an internal message that is made based on societies' needs and beliefs and has two perceptual and structural aspects. The structural aspect of the effect is simple and free of cultural and social considerations but the perceptive aspect is created under the influence of cultural, social, and political factors. Hence, symbology can be used to analyze mythological motifs. One of the most repeated motifs in Mesopotamian art is the motif of scepter, which is seen in the hands of goddesses and gods. The purpose of this research is to the typology of the scepter motif in Mesopotamian seals to understand the position of gods and goddesses in the art of this society. This research has been done through documentary research with a descriptive and analytical approach.The data was collected based on two catalogs of cylinder seals from William-Moore and the catalog of the Hungarian Museum of History and Art. The results show that the motif of the scepter can be seen in the hands of goddesses and gods from the Sumerian period to the ancient Babylonian period which are different from each other and each of them has a unique scepter in his hand according to the mythological character. Since the ancient Babylonian period, with Hammurabi gaining power, we see changes in the religious and social system of Mesopotamia, which was characterized by a change of the earlier democratic divine.Ishtar loses her religious status. From ancient Babylon to New Assyria, scepters are in the hands of gods and kings, which include sickle-shaped scepters, three-pronged thunderbolts, wedge-headed scepters, and scepters and rings. In the Neo-Assyrian period, we see the return of Ishtar in cylinder seals, but there is no scepter in her hand. She is depicted with a star symbol and a stone ring in her hand.

Susa was one of the oldest human settlements and the center of Elam civilization. This civilization has been studied by many archaeological groups due to its pioneering in art and ancient structures. One of the most important findings of the material heritage of this region is the patterned pottery. In the samples obtained from the pottery, various geometrical, plant, animal and human motifs can be seen, which have important concepts and themes. At the first look at the concept of these motifs, the relationship between the writers and nature can be seen, and the research of this research was also aimed at answering the causes of the emergence and understanding the concepts of the mentioned motifs. Also, has the influence of the various characteristics of Susa on the design of pottery been discussed? And has the role of rivers near Susa been investigated in the morphology of pottery?The issue of the effect of environmental factors on the life cycle and its manifestation in a symbolic form in the pottery motifs expresses the experiences and life flows of ancient times. Experiences and currents that are full of feelings, beliefs and efforts to overcome adversities and dominate nature, but in order to properly understand these issues, it is felt necessary to explore and research as much as possible in the relevant subject. A research that sheds light on the hidden aspects of the position and culture of ancient Susa civilization.After explaining the topics and linking them with environmental factors, it is concluded that factors such as: the existence of rivers with water, fertile lands, high mountains and the creation of silt due to erosion (water and wind) in Khuzestan plain has had a direct influence on pottery designs and art. From the obtained pottery, various abstract motifs can be seen, such as: cypress, goat, longnecked birds, ..., which This research has used the historical-analysis method in analyzing the meanings of the elements that are symbolically and abstractly depicted and has used the library-document method to collect the sources.

Sassanian Relief Carvings have utilized the interactions between the king, god, and people to evoke power and represent the social structure of their era through art. This structure, consisting of a grouping of functional identities within the reliefs, presents a form of triple structures found in ancient Indo-European societies, whose format is the common teachings of religions in myths, rituals, and social organizations. This ideology has been introduced as a theory in the field of comparative mythology by Georges Dumézil. This research aims to use Dumézil's comparative mythology method to investigate the reliefs of the Cup of Khosrow Parviz to find the social class functions and, by comparing them, to discover the triple structures. Therefore, the main question of this paper is how Sassanian Relief Carvings represent social actions. The hypothesis is that social actions are represented by the qualities and meanings of the structural elements expressed in the form of roles. The information in this research has been collected through library research, and the organization of the findings is descriptive-analytical. Studies show that the Sassanian society, with its cultural diversity, has commonalities with Indo-European culture, proving the presence of a triple social structure. Signs of this dominant system can be seen in the relief carvings of the Cup of Khosrow Parviz. Thus, the king has appeared in the role of the urban ruler in various situations and places, as well as among other classes of society, embodying qualities that have connected him to the lower social classes (warriors and the masses) through their actions

Before the arrival of the printing industry in Iran, media productions in written and visual language were limited to courtiers and were mainly focused on manual execution, which had a limited number due to the slow production process. After the transformations of Iran during the Qajar era and the arrival of the printing industry in the country, the process of producing graphic works changed and the traditional process of single-copy production turned into mass production. The beginning of Reza Shah's reign and entering the new political, social and modernization period of Iran since 1304 AH. It starts later. The presence of immigrant graphic designers such as Napoleon, Moshegh Sarvari and Frederic Thalberg is one of the important factors in the evolution of contemporary graphic design in Iran in the years 1300 to 1320 AH. It has been But the point of what people after these immigrant artists, in the formation of modern Iranian graphics in the 20s and 30s. have played a role was the main question of this research. Therefore, the results of this research, based on descriptive and analytical methods, show that the activities of artists such as Moshegh Abram Abrahamian, Hayek Ojaghian, Mahmoud Javadipour, Mohsen Davelo, Buyuk Ahmari, Mohammad Bahrami, Hoshang Kazemi, Sadegh Birrani, Mohammad Zaman Zamani, Boris Asirian, Hormoz Vahid, Parviz Kalantari, etc. in the formation and growth of this art in the 20s and 30s. It has played an essential role. Although some of these artists became famous in the 1940s, they have been introduced in this research because of the beginning of their activities in this period of time and the effective role they had in the formation and growth of Iranian graphics.

Beauty is the essence of art, And among different ethnic groups and nations, it appears with characteristics specific to that region In Islamic art beauty is manifested by decoration. Painting has always had a deep connection with literature. the artist creates beautiful and exemplary images according to the text. Poets and painters have always interacted with each other and have reached a single thought and created masterpieces During the Mongols era, Ahmed Musa compiled principles for painting.During the Safavids, it was recorded as seven decorative principles in Persian painting which took an orderly form Especially in Tabriz II and Qazvin schools, it was followed with strict rules and regulations And it appeared in all kinds of arts, including calligraphy, painting, tile working and geometric designs. These seven types of principals are:Islimi, Khataie,Farangi, Fasali and Niloofar, Abr, waq, and the Rumi bande or Greh Chini style . One of the most prominent lyrical poems in Persian literature, written in an allegorical and mystical format, is Khamsa Nizami, which has five narrative poems. Haft-Pikar or Bahramnameh is the fourth poem of this collection. Khamsa has been a popular subject for illustrated manuscripts. The current study focuses on a manuscript preserved at the Met that has 15 illustrations, seven of which belong to Haft-Pikar the illustrations are attributed to Sheikhzadeh and other students of Behzad. This research aimed to study these 7 illustrations a descriptive-analytical way. Information has been collected in a documentary methhod. the seven mentioned principals are used as the guidelines of the thematic analysis. The question is,to what extent are these principles and rules observed and used in the structure of sample paintings?the results of the study show that six decorative principles were observed in the illustrations of the studied manuscript.It was found that they paid a lot of attention to decoration in the painting of the mentioned school. In all the pictures, the utmost precision, elegance and lightness has been used. The frequency of using different types of slime, error, and knotting is significant, and all types of slime,which are categorized according to Table 1, have been used in appropriate places in the illustrations. Clouds are usually used in the day sky and lotus is an integral part of the pictures. The painter has artistically and keenly used the original Farengi in interesting levels,for example in the musicians' harps. The painter's obedience to the poet in the use of color is worthy of consideration.Balance and symmetry can be seen in all the pictures. the color combination in addition to the hue and saturation of the colors have been equated in the literary text and the image,which evokes an exciting feeling along with curiosity in the audience. The place of the inscriptions inside the images not only helps the viewer to understand the subject but also shows how delicately the artist arranges the compositions.Although, waq principal was used in the arts of manuscript design from the 6th century AH, it was not seen in these images

The political developments and cultural transformations of the early period of Pahlavi rule led to the emergence of a new era in Iranian painting. The stimulated curiosity of the artists led them to experiment with new methods and combine "calligraphy with painting". By combining painting and calligraphy and using decorative and folk arts and religious and religious beliefs, Iran's modernist artists were able to create original and beautiful works. As a result, "Saqqakhane Movement" was formed, which was the most important artistic movement of this period of Iranian history. The term "Saqqakhane" was initially used to describe the works of painters and sculptors who used some elements in Shia votive art such as Horse, Alam, Kettle, Togh, flag, paw (hand), cedar, sun, expressions and supplications and shrines. They used their innovative works. These Shiite elements or symbols are used in the paintings and sculptures of pioneer artists of the Saqqakhane movement (Parviz Tanavoli, Faramarz Pilaram, Hossein Zindaroodi, Jazah Tabatabai, Sadegh Tabrizi, Naser Owaisi), each of which has its own visual codes. The current research answers these questions with the analytical-historical method and citing library-documentary sources based on existing images and photographs of the prominent works of the Saqqakhanei movement: What Shiite symbols have been used in the creation of the works of the pioneering artists of the Saqqakhane movement? And what connection do these symbols show with the religious beliefs of that time? Thus, the purpose of this research is to identify the Shiite symbols used in the works of the pioneering artists of the q movement and to know their content and image quality, as well as to identify the relationship between the Shiite symbols in the works of the pioneer artists of the Saqqakhane movement with the religious beliefs of that era. The results of the research show that the pioneering artists of the Saqqakhane movement are Shiite symbols such as; They have used horses, hands (paws), Alam, etc. in their works with the aim of giving identity to this art movement and recounting the religious and intellectual developments of the people of that time, in the language of images and symbols, which have a direct connection with their religious beliefs. Artists also have.

The book "Gifts of the Sky" is responsible for teaching religious concepts to elementary school students in Iran, for which appropriate illustrations can be of great help in understanding the religious themes of the lessons. Illustrating these themes is very important due to the mental characteristics of children and teenagers and requires its own unique style. For this purpose, analyzing the elements and indicators of the text and choosing the appropriate visual solution to express the message of the text is the best model for illustrating these books. The problem of the present research is this: To what extent do theology lessons' illustration features in the fourth grade Heavenly Gifts book in 1402 A.H. provide concepts of theology? The goal is to recognize the degree of conformity of these illustrations with the text of the book and finally to provide a way to illustrate fourth grade theology courses. The research method is applied in terms of purpose, and in terms of descriptive-analytical method and analysis method, it is quantitative and qualitative. In this regard, ten common indicators between text and image, including: purpose, concept, feeling, event, style, execution style, characterization, space creation, time and element were selected and then the views of forty experts and lecturers in The field of illustration and primary school teachers was used by questionnaire. As a result, an average of 63% matching of the illustration with the text was obtained for ten indicators of the four theology courses, and the conceptual and fundamental indicators with 57% show less success compared to the formal and operational indicators. This means that the illustrators had an average analysis of the text and it is necessary to improve the visual strategies used to express religious themes

Persian and Turkish handwovens have similar motifs. These motifs can be assumed as talismanic symbols that have been separated from their original meaning today. The main question of the current research is what are the similarities and differences in shape and meaning of handwoven geometric motifs of Persian and Turkish handwovens, which are related to the philosophy of praising the mother goddess. It is possible to identify the background of these motifs based on archaeological discoveries. This article seeks to search and explain these common historical aspects and interpret the motifs based on the theory of the mother goddess and related symbols. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e. note taking and image analysis) and data analysis was done qualitatively. Based on the findings of the research, ancient Iranian religious texts have expressed women as the manifestation of fertility, representative of natural phenomena such as water, plants, and earth. The three female angels in Zoroastrian religion are Sepenta Ermeiti (angel of the earth), Amretat (the lord of plants) and Heortat (the lord of waters). The earth, water, and plants that these guardian angels guard are natural phenomena that are closely related to the concept of growth, fertility, and life. According to archaeological research, belief in the mother goddess has existed since the Neolithic period and before that in ancient civilizations, including Iran and Anatolia, and mythological concepts in Turkish literature also confirm this issue. This similar belief and other cultural interactions are the source of the birth of a common pictorial tradition that can be seen in the handwoven fabrics of Iran and Turkey. A horned rhombus and a geometric sitting figure with wide arms and legs is one of these birth pattern. These motifs are often associated with the concepts of fertility and life.