نشریه مطالعات تطبیقی هنر
پیاپی 23 (بهار و تابستان 1401)

The drawing of Zahak is one of the subjects that have been the focus of painters.  In many Shahnamehs, including the Shahnameh of Tahmasabi and Rashida, this issue is depicted in a different way. The purpose is to compare the pictures with the text and with each other. Gerard Genet is one of the theorists who has researched in the field of narratology, he is one of the structuralists and has offered a comprehensive plan for examining narrative texts. In his theories, he has paid attention to examining three aspects of speech, i.e., tone, time, and mode. The main question in this article is how the story of Zahhak was represented in the two paintings of Tahmasabi and Rashida with the title of tie up Zahak according to Genet's point of view. In this research, the elements and components of the story and narration have been used, which include background color, characters, point of view, theme, atmosphere and time, and how they are placed in the body of the story and visual narrative as influential components. The research method was descriptive-analytical and library sources were used to collect the materials. From the results of the research, it has emerged that the sequence of time in the story is based on the events, but in the paintings it is formed based on the removal and highlighting and the use of the text of the poem to connect the events by the painter. In the image to tie up Zahak in the Shahname of Rashida, the painter has limited himself to one scene, but the image in Shahname of Tahmasbi has depicted several events, which has contributed to this sequence. On the other hand, several narrators are used in the text of the poem, but the limitations of the narrator are seen in the above images. In terms of aspect or angle of view, it is also open, it is in the hand of the poet, but the angle of view in the pictures is different from that of the poem due to its visualization. Each of the images has the possibility to show more events due to the focal length. In this regard, Tahmasabi's Shahnameh has shown more details and more figures due to the focal distance, which has caused more action in the events.

Comparative study of modern art in Iran, Iraq, and Pakistan explain aspects of indigenous in modern art. In this article we examine these questions: how did avant-garde artists in these countries attempt to find and match modern art with indigenous art? How did they experience indigenous modernities in art? In this article, by adopting a historical-comparative sociological approach, we analyze the experiences of modern art in the works of Jalil Ziapour (in Iran), Javad Salim (in Iraq) and Shaker Ali (in Pakistan). The results show that the structural similarities in the art of these countries, which can be called parallel histories, can be examined at three levels: 1) The social context of the time: Especially in the middle of the 20th century, when the discourse of nationalism was influential in the formation of national culture, and governments sought to create a stream of national art that was both historical and modern, 2) Dominant artistic models of the era: Specifically the art academies of Paris and London, which transmitted the methods of teaching and art schools to international students and 3) Trying to shape the national school of art: Artists from peripheral countries were looking for an art form that represented both the universal language of art and the ability to build a national school. Cubism style was the answer to this problem and played an important role in shaping the national school of art. Three artists tried to return to the historical heritage and connect it with the combinations of Cubism. Javad Salim sought to integrate Islamic images and the heritage of Mesopotamian art with modern formalism and cubism; Jalil Ziapour emphasized the Iranian origin of Cubism, that is, the geometry of Islamic motifs as the background of modern abstraction; Shakir Ali, as a avant-garde artist, tried to learn traditional miniatures, because he believed that there is a link between this historical heritage and modern art. The achievements of these artists cannot be considered only as a modality of European art; Just as they sought to go beyond the formalist adaptation of modern art to indigenous subjects and experience a indigenous modernity in art.

Proving the influence of the Chinese pictorial tradition on Iranian art after the rule of the Mongol patriarchs has become an undeniable theory among researchers. The existence of dragons, ivy and ivy forms have been attributed to the Chinese; But this article adopted a different approach. Based on the belief that this world is the world of texts, he intends to read a sub-text of the large text of the Safavid rug. It seems that it is necessary to rely on transtextual capacities to study the manifestations of Iranian art and the previous ideas urgently need to be revised. With this aim, the hypothesis is that the role of "Simorgh and Arqam's encounter" in the Metropolitan  museum carpet is not a reference to the reality of the invasion of Chinese culture, but it refers to the world as a sign of the writing system of popular literature, a part of Samnameh. Limitation of the hypothesis to clarify the analysis of the role can be proposed in this way that the designer artist drew the design of the carpet based on the Samnameh and the present can be interpreted on the same basis. The type of this reference is a sign (simosis) which makes the role of "Simorgh and Arqam's confrontation" in the Qabi or latic design carpet not explicit and single-layered, but implicit and multi-layered. By using the text of Sam nameh (preface and previous text), the role of "the encounter between Simorgh and Arqam" of the rug can be deciphered. In order to avoid a one-dimensional and one-meaning reading, the present article has turned to intertextual analysis to recover the fluid meaning of the role. The Sam nameh writing system is considered as a reference for the Safavid carpet visual system. Qualitative research is one of the basic theoretical research types. It is descriptive-analytical in terms of method and nature. A study example of a carpet board from the collection protected in the Metropolitan Museum belongs to the Safavid era of Shah Tehamasab. The findings are the product of writing slips from library sources and recording observations of museum images that have been analyzed in the context of intertextuality. The result is that the role of "Simorgh and Arqam's confrontation" is not an extracultural (Chinese) reference and refers to the story of Sam's battle with Arqam the dragon in Sam nameh.

The museum as a cultural-social institution is influenced by the values of the society and the ideology that dominates it. Among these ideologies is nationalism, which has been particularly important in the formation and evolution of museums in the world. The transformation of museums since the establishment of this institution in Europe can be related to the idea of nationalism, which can be examined in the framework of two main paradigms of modern and postmodern nationalism. Based on this, the aim of the current research is to explain the relationship between museums and nationalism. The question is how nationalism played a role in the formation of the "concept", "position" and "function" of museums and how has the paradigm shift of nationalism caused a significant change in the institution of the museum? The research method is descriptive-analytical and comparative. In this regard, the ideas related to nationalism among modern and postmodern intellectual trends have been taken into consideration. The data is also collected in a library way. The results of the data analysis show that the emergence of the idea of nationalism in the modern paradigm was accompanied by the reopening of museums for public visits, the establishment of national museums, and the expansion of museums in Europe and America. It can be said that these events had a direct and inseparable connection with the colonial currents. Also, after the dominance of the post-colonial discourse and the transformation in the concept of nationalism in connection with the new discourse, another wave of museums has emerged as a tool of independence and an identity-giving factor. On the other hand, it can be concluded that the formation of the third movement in museums has a clear connection with the stabilization of the discourse of postmodern nationalism, which has made it a necessity for museums to encounter subcultures.

As a historical point, considering the effect of the literacy of the audience of a text on the quality of interpretation, a graphical text has been always read an analyzed through the analysis of the symbols and signs hidden in the text. In this regard, the coins and medals engraved with figures of Qajar kings, serving as symbolized graphical texts in the process of semiotics, can be assumed as discourse media in which the kings, as senders of messages, can convey their messages to the audience. In addition to their economic role, the coins have been always carrying political, cultural, and social messages and representing the power of the dominant social class. Therefore, the symbolic aspect of the coins has been always dominating the other aspects. In the present study, by using the two methods of semiotics (Barthes & Greimas) to analyze and compare the portraits of kings engraved on Qajar coins, it is attempted to utilize the qualitative method and the descriptive-analytical and comparative approach in order to answer the question “1.which mental and hegemonic themes are represented by the figures in the two preceding and recent periods of Qajar dynasty? and 2.which discourses are made through these figures?” On this basis, while answering these questions, it was concluded that during this era, the Qajar kings put their images on the coins, as a method for demonstrating their political dominance, in order to eternalize themselves, legalize their governance, represent their royal glory, and show their royal hegemony at national and supranational levels. The results obtained from this study indicated that in the preceding period, meanwhile the kings were committed to the maintenance of the native identity and national nobleness (authenticity), the royal discourses, unique power, glory, and wealth were governing. At the beginning of the recent period, besides the tendency toward modernism, a slight flexibility caused that the discourses of empathy, corporation, and renaissance and, later, the discourse of intimidation, threat, as well as passivity were added to the previous discourses.

Knotting is one of the most regular geometric decorations that spread with the spread of Islam. Among the different Islamic governments, the Ilkhani era is one of the most brilliant periods of prosperity and flourishing of art and architecture with the use of knot-making in Iran. Among the magnificent buildings of this period are Kabud Dome and Ghaffarieh Dome, located in Maragheh city, the external surfaces of these buildings have knots with different characteristics and many knot tools that are creatively used in each one. The purpose of this research is to know the types of knots, and analyze their characteristics and characteristics; It is the use of knot tools in these buildings and the comparison and matching between them that reveals their differences and commonalities. The current research aims to answer these questions: "What are the types of knots and the position of the knots on the external surfaces of the Kabud Dome and the Ghaffarieh Dome? And what are their commonalities and differences from each other?" The upcoming article is done in a descriptive-comparative way and the information is a combination of library sources and field observations. The results show: even though both buildings belong to the same period; two types of knotting with two different implementations have been used in both buildings. In this way, Ghaffarieh Dome's tilework is made with a combination of brick and mosaic tiles in a semi-relief form, and the nodes are used separately with mosaic tiles in the moqrans, But the knots of the Kabud dome are all made with cut bricks of almost the same size in a mosaic style and all raised; Also, most of the node tools do not have separate uses.