نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و هشتم شماره 3 (پیاپی 95، پاییز 1402)

The general concept of representing or imitating nature in art means that art is nothing but a mimesis of the nature, the artist recreates what he experiences in the outside world, i.e., nature, by means of artistic tools. Philosophy may reveal the broad meaning of nature representation particularly the sea. The concept of the sublime is one of the most valuable philosophical topics in the history of aesthetics. The sublime includes the feeling that is evoked as a result of the lack of imagination in the understanding of a very large object. Kant divides the sublime concept into two types: mathematical and dynamic. A very large object is understood either in terms of magnitude (size) or power. Mathematical and dynamic are distinguished depending on the connection with theoretical or practical reason. Mathematic highness expresses the fact that the subject of judgment is faced with vast magnitudes or greatness in time or space. Strength is superior to great obstacles. If it overcomes the resistance of something that has power, it is called force. Nature, considered in the aesthetic sense as a power that has no force on us, and is a dynamic sublime. Despite the wide range of research on Immanuel Kant and the concept of sublime, no research has been presented that focuses on representation of the sea in the 19th century. Therefore, the present research examines the concept of the sublime and its types, as well as the motivation of artists to create works of painting with the theme. Sea is discussed in the works of realistic paintings of the 19th century in Europe and America. Focusing on the concept of sublime this research explores the interpretation of the representation of sea waves in the above-mentioned works. The research method is descriptive-analytical and data collecting is desk-based. By selective sampling, five works have been selected and analyzed qualitatively. The results show that the pattern of the representation of sea is different according to its type. The high and dynamic matter in the studied works is done through the display of the power and violence of the sea. The drawing of sea storms, the overwhelming power of nature over humans, and sometimes the drawing of metaphysical quality, become an arena for visual metaphor and symbolic expression of the artist's intention. The apprehension caused by the events in dealing with the wild nature revives a high dynamic feeling in the subject. Realism is a platform for showing political issues, as well as nature representation without exaggeration and far from Romanticism sentimentality.

Delvoye, a Belgian artist, exhibits his varied works all over the world. Delvoye sometimes combines the elegance of decoration with smooth and polished surfaces resulting from industrial beauty and makes a magnificent set. The examples can be seen in loaders and heavy machines, which are decorated with the elaborated motifs of Gothic churches. He cuts stylized plant patterns on the tires of the heavy machines. Delvoye’s precise laser cuts produces objects without defects. In a collection of sausage, he makes geometric patterns and fills surfaces with them. The geometry of motifs with spiritual colors has a lot of appeals, but filling these patterns with physical sausages can cause sudden repulsion. This artist twists the metal statue of Christ and his cross, so that when we see the twisted statue, we can also see our own distorted image. The attraction of the polished metal and the repulsion of our distorted image are intertwined. The simultaneous attraction and repulsion twist the aesthetic appeal of the icons of Christ and carry itself to the endless Rococo desire for shining metals. But Cloaca (2000) is a device that produces turds. The problem of the research is this: What characteristics bring this work to the threshold of ugliness? Does ugliness have a negative value compared to beauty? In the following, we will study Cloaca to introduce the process of participation of this work in shaping the aesthetics of ugliness. According to the objectives of this research, so far, no paper has been written about Cloaca by Delvoye, nor has a wide and extensive commentary been devoted to it. The results show, and clarify these points: the human body has been considered as the focal point of contemporary art; the contemporary art studies the body itself through technology. The aid of technology brings out the internal process and transforms it into the machine. Cloaca has the anti-conceptual characteristic and fights against the domination of philosophical concepts.  Regarding the interaction of science and art, it disturbs the exploitative relationship between philosophy and art. In the form of neo-avantgarde, the institution has made art dependent on economic models, institutions, and capitalist advertisement. The value of Cloaca doesn`t depend on the special formal, artistic, and aesthetic (related to positive) features.  Its behavioral characteristics and reactions are metaphorically norm-breaking. Basically, the aesthetic features of Cloaca fluctuate between the two spectrums of beautiful and ugly. Cloaca's aesthetic characteristics include formless, shocking, artificial, soulless, boring, spectacular and contemplative, norm-breaking, and ambiguous, which include negative degrees and push it to the threshold of ugliness. As a result, according to this research, ugliness is not a disvalue and has an aesthetic significance. The research confirms  that ugliness and beauty are two maximum poles of the single scale of aesthetic value. The interpretation of the aesthetic features is the introduction of the dimensions of the work that enters something to the threshold of ugliness, but it is worth investing for capitalism.

The studies on Persian miniature have been mostly on old and traditional paintings and there has been less attention to the contemporary miniature. The study of paintings based on new theories is very novel and there is still much work to be done. Gerard Genette's theory of transtextuality, although not primarily related to the field of art and only concerned with literature and linguistics, is one of the theories that can be used to analyze and read visual works more carefully. It examines the influences that texts can have on each other to create a new text.Expanding intertextual studies conducted initially by Kristeva, Genette presented a more systematic and practical theory that is called transtextuality which covers all kinds of relations between texts. He divided the types of relations between texts into five categories, including intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Each of the categories is based on a specific intertextual relation. Intertextuality is based on co-presence relations, paratextuality on advertising relations, metatextuality on critical or interpretive relations, architextuality on stylistic relations, and hypertextuality on derivative relations. One can use transtextuality to analyze different types of literary and artistic works to achieve a more accurate reading of the works.Among the contemporary painters, Master Mohammad Ali Rajabi is one of the painters who expresses his opinions and views as an original and creative artist without harming the coherence of the artwork while using various pre-texts.Therefore, in the present research, the painting "Safinat al-Najat", Mohammad Ali Rajabi's work created in 2009, has been analyzed based on Gerard Genette's theory of transtextuality to examine the painting more carefully, discover the hidden layers of meanings, and find out the types of intertextual relations and pre-texts the artist has used in the painting. The present research has been conducted using the descriptive method of content analysis and a comparative approach, and can be considered as qualitative research. Data have been collected using the library research and observation.The findings of the research show that the painting includes all five types of transtextual relations, although it does not include all the subcategories of the types of transtextual relations. In addition to using various pre-texts such as the Quran, Hadith, Ferdowsi's Shahnameh, etc., the artist has added some items to his work to enrich meanings. While using written pre-texts, he has also used visual pre-texts, the most important of which is the painting of "The Words in the Praise of the Prophet" in the Shahnameh of Shah Tahmasb. Besides traditional painting methods, he has also employed the painting techniques of Master Farshchian, indicating the artist's mastery of traditional and contemporary painting that has made him able to display the power of the brush and skill in this way and transform the work from a narrative image to a new hypertext that is faithful to the previous texts while having a message beyond them for the present era.

The narrative structure in texts includs the characters, events and actions of the characters in the story that have been presented from the past to the present. In the field of sign-semantics, and the analysis of narrative systems their function and meaning production and reception are important. In narratology, structuralists seek to investigate the order governing the narrative and discover the internal proportions, relationships and links existing on the constituent elements of the narrative. In this process, Propp and Greimas rely on the method of narratology. Propp creates specific narrative patterns for the analysis of folk tales and addresses the functions involved in the plot and role of the characters and their interrelationships. Greimas was one of the structuralists who based Propp's research on a larger scale. Greimas action pattern is one of the useful tools in identifying the structure of the narrative. According to Greimas theory, each narrative has two main and superficial levels. The main level includes the action pattern and the main basis of narrative structure analysis. The action pattern is realized based on the analysis of dual contrasts and narrative chains. In this model, each narrative system consists of six parts which are the actors and the event and the description of each event. These divided and each has an action axis (demand /power /send). In this research, a picture of Timurid Zafarnameh dated 935 available in Golestan Palace Library, containing 24 illustrations, has been analyzed using Grimas action pattern analysis method. One of the most important books of Timurid period is Zafarnameh of Timurid. Zafarnameh was written by Sharaf al-Din Ali Yazdi on the order of Ibrahim Sultan in Shiraz and finished in 828 AH, as a biography of Timur. Zafarnameh was chosen among the historical manuscripts, Kamaluddin Behzad painted it and Sultan Muhammad wrote it. Considering that so far, no research has been done on this book based on narratology. Its painting is based on a historical text and is far from fantasy. In this research, the main design in the structure of the narrative has been investigated by using double contrasts, narrative chains and Greimas action pattern which structurally belongs to a single text and the image and narration of the text related to the image. Also, the similarities and differences of the action model in comparison with the text have been investigated and finally the relationship between the narrative structure of the text and the image has been evaluated. Accordingly, the picture as an independent text has two levels of infrastructure and superstructure. The research results show that Greimas model is an analytical model compatible with painting.

In the pre-Islamic era, the Arabian Peninsula was a highway between Europe, Syria, Africa, Egypt, Asia, Mesopotamia and India, and in this sense, it was able to create a significant commercial position. This paper intends to examine the social history of Saudi Arabia in three economic, political and religious levels and explain the dominant discourses. The main question is how the dominant discourses of that era have influenced the formation of works of art? As a qualitive research, with a descriptive-analytical approach and desk-based data collection method, it has used the opinions of Norman Fairclough as its theoretical framework. Fairclaugh believes that in analyzing the discourse, one should analyze the productive institutions of the discourse; Institutions that shape power and ideology in the intertextual relationship. Based on this, he explains three levels of discourse: discourse as a text, discourse as an interaction between the process of textual production and interpretation, and discourse as an action space. In this approach, power relations are analyzed at three social, institutional, and situational levels, and attempts are made to analyze the social processes in the formation of the artwork, thereby analyzing the ideological structures and social system. The results of this research indicate that the dominant discourses were formed in the context of religion, that is Judaism and Christianity, which were strengthened by the Sassanid and Byzantine empires with a political approach. The Sasanians strengthened the Jewish religion and tried to change the ruling political discourse in their favor and use Arabia as a barrier against the Byzantine Empire. The Byzantine Empire spread Christianity in the region, so they built many churches in Arabia. Arab sheikhs were able to take over the commercial power of the region to maintain peace. Before the Jahili Arabs came to power, most of the Arab sheikhs were with the Jews, so the Sassanids were the dominant power in the eastern and southern regions. In northern Arabia, the influences of Byzantine architecture and art are quite evident, and iconography can be seen in works of art. At the same time, in the central plateau, Arab sheikhs took power in Mecca and Yathrib (Medina) and created a culture that flourished in the next era, with the advent of the Holy Prophet Muhammad. Also, the city of Mecca became a center for religious ceremonies and the Arabs came there every year. If luxury grew in the south, east and north of Arabia, instead, in Mecca and Medina, the discourse of simplicity became the dominant culture. After 661, the first Umayyad caliph, Muawiya ibn Abi Sufyan, chose Damascus as the capital. Therefore, although Islamic thought is rooted in the Arabian Peninsula, the dominant discourse in this era was simplicity and did not allow the formation of magnificent and royal art; This caused Islamic art to be influenced by non-native regions, namely Damascus with Christian thought and the Mesopotamia region with Iranian culture.

Three single-page drawings mounted in an album signed by Shafi `Abbasi in the style of Ink on paper is the subject of this research. This album is kept in the British Museum. The album contains twenty-eight folios with fifty-five drawings of flowers, plants, insects, and birds, attributed to Shafi` `Abbasi. Iranian artist Shafi` `Abbasi was one of the painters of the Isfahan school, who specialized in painting in the style of flowers and birds.  Before the Isfahan school, color was the main element of Iranian painting but In the Isfahan school, the main element is line drawing. The Safavid capital, which was moved to Isfahan, turned this city into a trade center for all kinds of goods from east to west. The use of painting was no longer confined to the scope of court books layout. Single- page drawings had become popular for different classes; Also, at this time, designs were created for the growing industry of Safavid textile weaving and decorative boxes with lacquered covers. The visual element of line in these works has been investigated by the descriptive-survey method with the help of data from printed books. The research aims to identify the visual elements of lines in the signed drawings of Shafi `Abbasi. The classification of line features in the artist's drawings is proof of the authenticity of other works attributed to him. The results of this research show that all the lines used in the artist's works are curved lines. The line element is based on curved lines and no line has a static character. We have divided the lines into various curves and into five categories in terms of type. These categories include: 1- Symmetrical curved line of a single arc, 2- A curved line along the horizonal or vertical axis with several degrees of curvature, 3- Asymmetric curved line of a single arc, 4- Curved line with wavy arcs, 5- Deep curved line. For each single-page drawing, a single category of curves can be considered, which has caused the creation of various rhythms and patterns. On the edge of the leaves and some flowers, different corners are drawn with elongated or wide curves. These corners are curved in different directions depending on the position. Even the use of this category in drawing insects and other painting decorations is also considered. There is a formal connection between the curved lines of the painting and the calligraphy form in the artist's signature. In terms of quality, the line has variable thicknesses and does not move uniformly. The starting line is thin and delicate, in the next stage, it takes a suitable thickness. This change in line thickness has created a bright shadow and volume in the painting. In the end it has a delicate finish and is separate from the connection to the other line.

The majority of research on Qajar clothing is centered on the garments common among people from all walks of life, neglecting those specific to particular trades or social classes. This study focuses on the type of fabric used for the waist aprons worn by Qajar - era peddlers, as depicted in two Scrapbook of Professions manuscripts from the reign of Naser al - Din Shah Qajar. In analyzing the fabric’s design and production method, the study also fulfills a secondary objective, namely exploring the two manuscripts. One book is kept in Golestan Palace in Tehran and the other in the British Museum, and given their stylistic similarities, they appear to have been created around the same time. The first manuscript has 32 pages of watercolor paintings of different occupations and different clothes of the Qajar era. This scrapbook has recorded scenes from the daily life of ordinary people and  is therefore sociologically significant. The second version of scrapbook is similar to the style of the previous one, howewer with half of its dimensions. In any case, this manuscript apparently has about 28 paintings. The research questions are: Based on the Naserian-era Scrapbook of Professions manuscripts, what items of clothing did male peddlers wear in addition to the clothing worn commonly by men? And how were these additional items decorated? Conducted as qualitative, historical, and descriptive - analytical research, the study reviewed the manuscripts and selected ten illustrated men in waist aprons. The analysis of these artworks showed that waist aprons were part of peddlers’ professional outfits in Qajar Iran and that the peddlers who wore waist aprons included those who sold boiled beets, boiled broad beans, beef tripe, black mulberry, faience, barberry juice, the kashk-doogh beverage, secondhand clothes, and bread. Of the selected ten men, nine wore waist aprons made of a type of patterned fabric known as moharramāt (Striped), and only one — depicted in the Golestan Palace manuscript as Ustād Reza Peenedooz (Master Reza the Cobbler) — wore a plain waist apron. Looking at the manuscripts, moharramat fabric seems to have been among the most popular fabrics for men’s waist aprons in Qajar Iran. It also varied in quality and production method some varieties had patterns woven into them, whereas others had decorations added on top using techniques such as embroidery. Striped embroidered varieties were more expensive and mostly used in the early Qajar era for women’s pants. Floral-patterned varieties with often-thin stripes were popular for women’s shirts and male servants’ qaba coats, as well as in the form of waist sashes, linings, and hem decorations for upper - class men. As suggested by the illustrations, the moharramat used for peddlers’ waist aprons was of a very cheap variety, appropriate for peddlers’ occupations and economic class and for an apron’s purpose, namely protecting the clothing worn under it. This variety was made of cotton and probably resembled the type of traditional handkerchief known today as the dastmāl- e Yazdi (Yazdi handkerchief).

Today, one of the main goals of contemporary education systems is to provide and prepare efficient educational spaces and equipment, in order to improve the educational status of students. One of the most important ways to gain this goal is by providing appropriate and efficient educational spaces and equipment in harmony with the educational system in the world. Carrying overly heavy school bags or backpacks is one of the most common problems that students face. The backpack in school plan is a solution for elementary students that is based on the policies of the Education Organization, but unfortunately in most schools in the country, due to the lack of proper physical infrastructure and lack of personal space for each student, practically the implementation of this plan has failed.  In this regard, it is required to study and create desirable equipments compatible with the educational system in order to prevent many problems such as negative effects on the students' mental and physical health. Therefore, classroom benches should be designed to reduce pressure on the body and support body weight, and the chair should be able to support reading and writing processes. For this purpose, after conducting field studies and research, we found out that upgrading educational furniture according to the interests and needs of the user is a suitable approach for implementing the research objectives. In this research, after studies and field research in the schools of Urmia city was conducted through a questionnaire to obtain the opinions of 60 girls and 60 boys. The obtained data were extracted as educational furniture design parameters, and then formulated and prioritized as design criteria, using standard evaluation principles to design factors. Then in the practical phase of the research, the designs were done based on the criteria and the superior design was finally selected, described and developed. The selected design with a weighting factor of 815 was upgraded considering the features desired by the users. Then, a simulated video sample was provided to the subjects to check and survey the success rate of the components implemented in the final product design and to check the satisfaction level of the users and to implement a semi-experimental plan (pre-test, post-test). The Grice House - Geisser test was used, which was significant at the p < 0.001 level. Finally, the comparison and interpretation of the data showed the pleasantness and satisfaction of the users with the final product design and the effectiveness of the output components and implementation in the final design.

Balochi embroidery is one of the most famous traditional arts among the Baloch people living in Iran and Pakistan. It is of great importance as a national art in the two country. The people of these two regions have the same culture in terms of Balochi embroidery, but the distinction between design and technique in different regions of Balochistan has led to the geographical expansion of this art and high diversity in terms of motifs and methods of execution. The existence of territorial borders and the lack of familiarity with the way of sewing and processing patterns, which has led to ignoring the differences in this art, make it necessary to conduct an independent research in this regard. Based on this, the current research, which was carried out in a descriptive-analytical way and based on field and library studies, seeks to answer the following questions: What are the similarities between the sewing method and pattern design in balochi embroidery of Iran and Pakistan? And what are the most important differences in this field? In order to better investigate this issue, the studied samples were selected among forty common sewing techniques in the main Balochi embroidery centers in the Balochistan Iran and Pakistan, they have been collected in the form of non-random and purposeful sampling. The selection criterion of these works was the patterning, coloring and sewing method. Then, considering three basic indicators; patterning, coloring and execution technique a comparative study was done between them,. The findings indicate that although there are significant similarities between the Balochi embroidery of Iran and Pakistan, the sewing technique and the way of performing the pattern on the background fabric make it possible to differentiate between the Balochi embroidery of these two countries. Also, the counting of taropods in Iranian balochi embroidery, which is considered a kind of skillful sewing, has established a special artistic taste in these works, which is a special feature of this art in Iran.The traditional colors based on the seven-color rule are the same in both lands, with the difference that in the northern parts of Iran's Balochistan, dark red is more common and in the southern parts, bright red, orange, and yellow colors are more common. Monochrome patterns or fancy color schemes, known in the local dialect as youth colors, are seen in the needlework of both countries. In the art of Balochi embroidery, geometric motifs have the highest position; However, in some cities of Balochistan, Pakistan, including Karachi, due to the proximity and influence of Indian clothes, most of the patterns have moved away from the abstract state and moved towards non-geometric and Banarasi motifs. Also, the overall form of the dress is the same among the Baloch women of Iran and Pakistan, but there are differences in the density of motifs and the tendency to be minimal between the Balochi embroidery art of these two lands. In Balochistan of Iran, the designs are more intensive, but in Balochistan of Pakistan, they give more importance to minimal designs

After rising to power, Ardašir I made a coherent plan to legitimize his kingdom. Similar to kings of ancient times who created a new dynasty, Ardašir I faced a critical problem, which was how to legitimize his exclusive power as the newly established king. Creating various rock reliefs in different regions was one of the most significant things Ardašir I did in order to legitimize his monarchy. These rock reliefs can be classified into two major genres: first, encountering AhurāMazdā and receiving a symbolic ring, and second, victory in the battle against the enemy. These two themes also became the most significant themes in rock reliefs during the ruling of other Sassanian kings. The ring of kingship is one of the most prominent visual elements in these rock reliefs, whose roots could trace back to Ancient Mesopotamia. As can be observed in the visual traditions of Ancient Mesopotamia, receiving a ring of kingship was a symbol of divine validation of the kingship of the person who received it. Contrary to the Achaemenids, in the pictorial traditions of this ancient culture, the ring was always at the right hand of god. During the Achaemenids, however, the “ring” was in the left hand of god. Once again, in the Sassanids era, the ring was in the right hand of god, perhaps due to religious and cultural reasons. Gods illustrated in the Mesopotamian tradition often did not show a gesture of respect. In other words, they would not raise their hands as a sign of respect like the king did due to their supposedly higher status than the king. This is noteworthy, as raising the right hand in Achaemenid illustrations meant god had to hold the ring in his left hand, as opposed to Mesopotamian motifs, where it was in his right hand. This could indicate the higher status of the king in Achaemenid rock reliefs than the Ancient Mesopotamian kings. In Achaemenid rock reliefs, the ring-holding god does not have a rod in his other hand. Further, the left hand of the king, unlike Mesopotamian kings, is neither extended to the god nor on his side. The Achaemenid king holds a bow in his left hand, which could indicate his superiority to previous Mesopotamian kings. By emphasizing the status of the king, the Achaemenids were able to not only demonstrate the divine providence but also the superiority of the king to past Mesopotamian kings. By studying the relationship between the king and god and by taking over Mesopotamian motifs, they were able to illustrate a new relationship that not only guaranteed the ascension of the king but also allowed the ever presence of the superior god at the top of all the rock reliefs. According to the aforementioned, it can be concluded that receiving the ring of kingship from the supreme god and the deification of the king which were seen separately in the pictorial traditions of Ancient Mesopotamia were consciously synthesized in the rock reliefs of Ardašir I and employed to legitimize his kingship.

Tombstones in areas where people are famous for their industrialism and artistic taste, as well as ancient civilization and culture, are worthwhile to be examined from several aspects. The designs and motifs on the tombstones, with a theme related to the category of life and death, are a treasure house of codes and symbols. In this regard, " Bozelar Hefshjan" and "Aramene Sirak" cemeteries are such exemplary.The carved motifs on the graves of " Bozelar " cemetery in Hefshjan and the Armenian village of "Sirak" located 4 km away in Chaharmahal and Bakhtiari province, are important in terms of artistic values, influencing each other.Analytical and comparative study of these two sites is done concerning both contemporary Islamic and Christian attitudes towards the category of art on graves, and the influence of native visual art and culture. Not many researchers claim that cemeteries and the shapes and patterns of their tombstones are affected by dominant idealogy.This research with a descriptive-analytical approach, focuses on the nature of the artistic values contained in the tombstones of above-mentioned areas, especially botanical and animal motifs (which have a wide symbolic connection to the category of life and death) and their interaction. Despite their two different religions, these cemetries are valuable examples for sociological studies in the cultural exchanges between Iranians and visiting immigrants. The method of data collecting is mainly based on fieldstudy.This research shows that despite the very basic differences in looking at the category of life and death (as the most important categories of religion) contained in different religions; where art and beauty come together, barriers and color distinctions disappear and beyond religious identity distinctions, the language of art and beauty as the common language of humans prevails over other language and identity distinctions. It also shows that Iranian culture has no resistance of its own in dealing with the cultural values of others, where beauty and art are involved.A kind of inherent artistic feature in the gravestones and the historical sequence of these changes that have lost their linguistic meanings with the passage of time and left behind an ethereal form of technique and industry combined with art and beauty, has caused the cemeteries to tempt tourists to visit them. Not so long ago, the idea of spending free time and exploring the cemetery was impossible or considered as a sick hobby. But now that artistic sparkles and symbolic forms, from the shape of the tombstone to the variety of designs on the stones, have become the face of the image and landscape of the cemetery; A special visual-tourist function has been given to these collections.

Despite the expansion of video media and virtual networks with the ability to share video, the poster is still one of the first and most important elements of a film that provides information about it to the audience. It is a poster that depicts the message and atmosphere of the movie in a fixed frame to attract the attention of the audience and invite them to watch the movie. Beyond the beauty and image of popular stars, the ideal poster offers thousands of things about the movie to the audience, because a picture more worthes than a thousand words. In fact, the small details of movie posters can easily convey important elements of the story, characters, genre and many other dramatic elements of the film to the audience and become the first narrative and dramatic element of the film. Searching for drama and narrative in two-dimensional arts such as posters is possible through different and intertextual readings. By knowing the concepts of narrative layers in Gerard Genet's theories of narratology, as well as familiarizing with the special features of cinematic narratives that have been proposed in the theories of people like Seymour Chatman, it is possible to examine the structure of drama in the narrative of a film and compare it with the narrative elements hidden in the corresponding poster. Establishing a connection between the two cinematic and visual texts and between the dramatic narrative in the film and the poster, a practical solution for creating dramatic and narrative posters has been offered. In this research, after introducing the drama and its components, the dramatic elements in selected posters of Iranian cinema have been analyzed based on the theories of narrative layers of Gerard Genet and Seymour Chatman's cinematic narrator. With the completion of this research, it became clear that by relying on the theory of narrative layers, narrative can be found in non-narrative and non-dramatic arts, and by referring to the theory of the cinematic narrator and knowing the tools of cinematic narration, it is possible to differentiate between the two mediums of film and Poster communicated and analyzed drama and story in these two media. In this method, the cinematic tools of the film convey the story and drama to us, and we reach the story from the cinematic discourse. Then, based on the story, the poster is studied to determine how the story and drama are displayed in the visual discourse of the poster. Based on the findings of this research, it can be stated that the drama in the posters of the 60s and 70s of Iranian cinema shows itself on three levels: on the first level, the genre and the theme of the movie are reflected in the poster. At the second level, the characters and the relationships between them are defined, and at the last level, the plot of the drama is conveyed to the audience through the depiction of the dramatic action.