نشریه مطالعات تطبیقی هنر
پیاپی 25 (بهار و تابستان 1402)

Understanding the connection between verbal texts and the visual artworks based on them, is important in interpreting, explaining, and understanding these works of art. The concept of intersemiotic translation, which means the interpretation of verbal signs using signs of non-verbal sign systems, can be an efficient solution in studying the mentioned connection. This study, seeks to achieve the mechanisms of the intersemiotic translation process and the influencing factors in the creation of visual artwork from verbal text. Hence based on a descriptive-analytical method, with the comparative study of two visual artworks based on the same story, the main mechanisms in the process of intersemiotic translation are proposed. By comparing the painting of Joseph and Potiphar's Wife by Kamaluddin Behzad and the sequence of the Youssef Prophet TV series with the same story, in response to the question of what are the common mechanisms in the intersemiotic translation process, The four mechanisms are presented: repetition, creative reproduction, creative innovation, and deletion. In addition, in response to the question of what are the influencing factors on the intersemiotic translation process, Intertextual relations, the artist's creativity, and the medium of the created artwork are considered as the most important factors influencing the above four mechanisms. The two artworks in this study, which have been analyzed based on library information, are based on the same story, but they are very different in terms of artistic type and historical period. This selection helped to understand the visible and hidden aspects of the problem. Finally, it is necessary to mention that the results of this study and the proposed mechanisms can be used as a method in similar studies.

Safavid in Iran coincides with Ming and Qing (16, 17 and 18 ad centuries) in China. In this period hand woven carpets have a special place in the history of these two countries in terms of design and production. silk road that contact Iran to China, caused the transfer of carpet culture and trade along this road. Considering that antique Chinese carpets have been less studied by researchers, reciprocal influences in hand woven carpets design between Iran and China have been not considered. This research is an attempt to study the reciprocal influences of hand woven carpets in Iran and China with a comparative - historical method. Therefore, by collecting data as a document and whit using an analysis-description approach, comparing Iranian and Chinese hand woven carpets to determine their commonalities. in this research without considering the appear progress and evolution of motifs in history, this question arises as to what effects did historical relations between Iran and China have on the design of hand woven carpets? What are the common and influential motifs in Iranian and Chinese carpets? By studies on the samples it has been determined that historical relations on Iranian samples lead to the production of carpets with gold and silver string. Design with Iranian garden and balance were also used on the Chinese carpets. The influences that arrived in Iran from China were also woven with the taste of Iranians and traveled to China again. such as peony and woven with gold and silver string. Also, different motifs arising from historical relations were identified, which are divided into three main categories: 1. Common motifs of Iran and China. 2. Chinese influential motifs on Iranian. 3. Iranian influential motifs on China.

Liveness is one of the most important issues to consider in all arts in general and in performing arts in particular. In recent years with the ever- increasing popularity of intermedial and multimedial it has assumed a new significance and the nature and definition of liveness has become the subject of much theoretical debate. Following this novel trend numerous scholars and theorists have contributed to the vigorous debate on liveness. Liveness has been analyzed in various fields such as performance studies, media studies, film and television studies, sports studies, virtual studies and more. The present study, however, focuses on performance studies and media studies. In the wake of  Peggy Phelan’s observations in  “Unmarked: The Politics of Performance” namely claiming that performance’s only life is in the present as well as placing considerable emphasis on the fact that performance is ontologically ephemeral, numerous theorists contributed to advancing the discussion. Philip Auslander, initially determined to take issue with the ontological view, made an effort to investigate liveness taking innovations in digital and hybrid performances into consideration. Therefore, warning against solely attempting to locate liveness in the object of perception, he highlighted the role of spectator or audience. Recent innovations, however, proved these considerations insufficient too, since particularly during the COVID-19 pandemic the absence of live performance from cultural experience necessitated reassessment of previously agreed-upon statements. The present descriptive- analytical research which is conducted with comparative approach aims to explore the theories of Phelan and Auslander regarding liveness. In this regard, an attempt is made to examine the ideas of both theorists and compare them in the light of recent findings in this field. The findings of this research indicate that Phelan’s ontologically- based definition of liveness, though significant, might not prove practical considering recent innovations. On the other hand, Auslander’s pronouncements, initially based on the historicity and contingency of liveness, at each stage, reflect the specific conditions of the case studies he chooses to investigate. Particularly if we consider the new definition of space, which is related to the space created in digital performances, the co-presence of performer and spectator in time and space can exist, albeit in a new sense of space.

By adopting a critical approach, following the adaptation of the concept of gender on the Horatian oath board, this research uses the ideas of postmodern philosophers such as "Lacan", "Derrida" and "Hélène Cixous" and on the opposition of "man and woman" and the lowering of the position of "woman". It focuses on the visual language of David and aims to find out the power relations of the 18th century French patriarchal society, how it was manifested in the visual language of David and redefined and represented the gendered concept of "woman". This review; Using the four steps defined in the method of "Edmund Burke Feldman", first in the description stage, the verbal-narrative origin of the painting; That is, he paid attention to the play "Horas" and the book "The Beginning of Roman Civilization", then he addressed the visual origin of the painting, i.e. "The Oath of Brutus" by Gwynn Hamilton and the forgotten gesture of "Roman Salutation". In the second step, with formal analysis, it was found that the relationships of form, color and composition were also formed based on the originality of men and the marginalization of women. In the third and fourth steps, during the interpretation and judgment with a psychoanalytical transition, we found out about David's childhood, he lost his father in a duel, his mother abandoned him and his architect uncles took care of him. Misogyny and attention and emphasis on architecture. He also behaved as an extremist in the field of politics, but the separation of his wife and children and his imprisonment led to the transformation of his intellectual and artistic world As he presented the painting "Mediator of the Sabine Women" to his wife as an antithesis of the oath of the Horatis to appease him, and after that the anti-feminist emotions in his works subsided. The result of this critical reading showed that David's life and works of art, after a long idealistic peak, have a sudden descent that has placed him on the horizon of reality.

Geometry has been one of the most important factors in the design of works in Iranian painting. As an identifying element, it has become the foundation for a distinctive characteristic in Iranian painting. In Iranian painting, a unique visual language is observed, which emerges from the interplay between form and content. This visual language is organized based on geometric relationships and proportions. In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting "The Killing of Arjasab by the Hand of Esfandiar in Ruyin Dej." The aim is to uncover the geometric structure underlying this painting. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting. For this purpose, the main research question is: What is the geometric structure present in the painting under investigation? Has the painter purposefully used geometry as a theme in the painting? The comparison and test results indicate that:1. In the painting depicting the killing of Arjasab by Esfandiar in front of the fortress, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2. The artist has reconstructed the geometric structure of the space by reducing the visual elements to basic shapes such as circles, triangles, squares, and pentagons. This is achieved through emphasizing geometric purity and utilizing a limited color palette.3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.

The Safavid period is considered the golden age of art in Iran. Numerous books were illustrated by painters in the royal courts of Safavid kings. On the other hand, Safavid king’s interest in Persian art led to the establishment of carpet weaving workshops. Carpets and miniatures with hunting designs are important groups of artworks in the 16th century, the most significant component of which are human motifs. The present study aims to identify the proportions of human motifs in carpets to miniatures with hunting scenery in the second school of Tabriz. Therefore, the main question is “what are the visual and characterological relations between Safavid hunting carpets and paintings in terms of human motifs?” The descriptive-comparative method is used to achieve research objectives. Moreover, data are collected from library and online resources. From the visual perspective, the results demonstrate close similarities between human images in hunting carpets and miniatures from the Safavid period, which can be due to the impact of miniature on carpet design and motifs. From the characterological viewpoint, five human characters, including hunters, Qurchis (royal bodyguards), musicians, attendants, and spectators, were detected, three of which (hunters, spectators, and attendants) exist in both, carpets and miniatures.