امیرعباس محمدی راد

Ibn Sina's philosophical framework gives particular consideration to narrative and creativity. He regarded the meaning of physical punishment for humans on the day of Judgment as one of the symbols and signs and embraced the physical resurrection based on religious narrative. In other words, Sheikh did not place the centrality on evaluating, rejecting, and accepting issues in general, and religious issues in particular, intellect and rational perception, and he stressed that if the rational argument fails to prove some cases, it is not the reason that it is impossible. This was done based on hermeneutic insight. Ibn Sina, therefore, took a dualistic perspective on resurrection and, despite his faith in a spiritual resurrection, thought the bodily resurrection was conceivable. He thought that the Qur'anic verses' descriptions of the bodily punishment of the Resurrection, which were intended to be as near to general comprehension as possible, were mysterious and concise. Because they cannot fathom that it is impossible to vote, the general public can better comprehend the position of those who are crammed. He made the first distinction between fantasy and imagination concerning the power of imagination, describing it as a creative and inventive power with the capacity to grasp shapes and meanings. This difference enables the imagination to create forms that have no analogs outside of the imagination and to create new forms from those it has already saved. However, imagination requires the assistance of an engaged mind to translate logical ideas into tangible shapes. The power of imagination restricts the active intellect's ability to conjure up tangible representations of sensible ideas and capture their pictures and meanings. Another important subject for supporting the representation of religious topics like the Day of Judgment is the continuity of narration and imagination in the painter's eyes. This Day is a day that makes the earth and the man stands before God with his actions, and God says: We have bound the actions of every human being to him eternally, and we will bring out writing for him, which he will see open before him. This study aims to identify instances of the imagination used by the painter to depict the visual substance of human behavior on the day of judgment, on the one hand, and to provide direction for Qur'anic allusions and allegorical expressions of verses, on the other. What strategy has the painter used in the face of narrative and fantasy in the concrete depiction of plausible ideas in the context of resurrection day, given the importance of this question? To adequately respond to this question, it is important to consider Ibn Sina's viewpoints in light of his in-depth discussion of the power of imagination and to take an interpretive perspective on the subject of bodily revival. A painting named "Day of Judgment" was selected in this direction to tie the two study areas of Ibn Sina's views and the art of painting in the framework of narrative and imagination. This image with the same title was portrayed in the Falnamah book and during the Safavid. This volume, which Shah Tahmasab ordered illustrated, is a compilation of horoscopes associated with stars and constellations that have a devotional bent. One of the few artworks from the Ilkhanid to Safavid eras that depicts the Day of Judgement is the cover of "Judgment Day." More significantly, the visual components are based on Shiite religious themes, which are significant Safavid era characteristics. However, when contrasting these two images, the image selected for the current study has portrayed increasingly comprehensive descriptions; this difference was the basis for the image selection. With the aid of library resources and a descriptive-analytical research methodology, the current study examined the aforementioned subjects and the results of the studies are as follows: In addition to having a semantic connection to representing the circumstances of the day of Judgement, the interior space of the image is based on a narrative arrangement from top to bottom, and it symbolically refers to the sacred position of prophets, imams, and sinners as well as their true high and low status. The eleven imams are depicted in Shafaan's posture without any characteristics resembling those of regular persons, and the ambient light is replaced by the typical features of face art, such as eyes, eyebrows, etc. This holy blaze serves as a metaphor for the illumination of wisdom that God has bestowed upon the unadulterated institution of the infallible imams. Meanwhile, the body of Fatimah has a remarkably unique pattern that shows that, in addition to her cranium, the entirety of her being is encircled by sacred light, demonstrating both her essence and her luminous nature. This symbolic portrayal, which shares a close semantic relationship with the Qur'anic reference to her as "Zahra," or "light," indicates the significance of the artist's transfer and approval of Shiite readings. The relationship between face and meaning has developed in the posture of observers as a result of the accumulation of vertical visual factors. In this way, the scale's face, which also alludes to the establishment of homeostasis and balance, is linked to the vertical visual forces, which have meanings like establishment, balance, and stability. The combination of these two formal and lexical allusions with the physical appearance of Hazrat Muhammad and Hazrat Ali, whose bodies serve as the Qur'anic yardsticks for measuring human behavior on the Day of Judgment, which is one of the significant outcomes of the painter's use of narrative and imagination in his or her creative and sacred vision. The combination of the color of the sacred flame of the Prophet and Imam Ali with the color of the holy flame of the innocent imams, who were in the position of the intercessors, is another logical idea that can be seen in the position of the assessors. This in turn alludes to the reality of Noor Muhammadiyah on the one hand and the Imams' descendants on the other. The Qur'anic passages and Shia interpretive sources served as the painter's inspiration for depicting the offenders in the position of those who are tallied. His creative ability successfully creates combos that are appropriate for the circumstances specified for the evildoers by entering and filling the forms and meanings kept in the power of imagination and memory. In addition to depicting the condition of evildoers, rather than painting some of their features dark, the audience has also been made aware of the ugliness of the actions, and in this way, it also depicts quality problems. The incorporation of the awoken in the amazement of the eight groups of offenders with the high rank of imams at the top of the image is put in the bottom portion of the image in a clear semantic comparison. The most significant of these are distinct and covered faces, open and regretful faces, radiant faces with a holy flame, black and dark faces, placement in Paradise and next to the Tuba tree, placement in the barren and barren desert, women dressed in colorful societies, naked upper bodies and shrouded lower bodies, and others. This conflict between the positions and ranks of the innocent imams and the evildoers has also been represented in other open confrontations.

This study applies quantitative content analysis, and Paul Gee’s context analysis methods to analyze the representation of everyday life objects in works of Iranian contemporary photographers. In this respect, answering the question about meaningful differences in the choice of subject and the artistic styles in the works of male and female photographers seems necessary, through studying different characteristics of works of contemporary Iranian photographers.Artists use everyday objects to arise artistic perception of the audience and inspire them to contemplate what seem to be ordinary. Whereas such art works represent an object, they challenge everyday subject to express artistic ideas and invite the audience to think.This study investigates seven important linguistic actions and five activities in each art work provided in two different tables, in details.What is derived as  result, is a meaningful and obvious difference in representation of objects in works of male and female photographers.  Photos of this study are selected through targeted sampling method.Key words: Content Analysis, Context Analysis, Everyday Life Objects, Iran’s Photography. One of the most important reasons that make everyday life a subject worthy of research is its ordinary nature. It was from the end of the 20th century that social theorists considered daily life as a dynamic and controversial subject. Since the beginning of the human consciousness and his approach to art, countless common objects and elements have been among the shaping factors of works of art. Especially photographers have emphasized their aesthetic aspect and importance in life by looking at and recording objects. In the photos where the objects are next to the portraits, you can understand the class and social position of the people.The collection of photographs whose main subject is everyday life objects and tools, as well as dealing with the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers, form the subject of this article. This representation of objects invites the audience to think and try to criticize the phenomena and normal affairs of everyday life. For this purpose, and better presentation of the concept of the article the works of the following contemporary Iranian artists have been studied: Shadi Qadirian (two collections), Mitra Tabrizian, Farshid Azarang, Mehran Mohajer, Neda Razavipour, Maitham Mahfouz and Behnam Sediqi.This article uses the combined method of qualitative content analysis1 in order to describe the collections and analyze the text with an approach to Paul Gee’s discourse analysis method, which on the one hand expresses the constituent parts and components of the text and on the other hand expresses its internal actions.  The sources were collected through was field study and library research. The method of selecting works is based on targeted sampling among the works of male and female artists since 1991.Content analysis is actually the classification of signs and the description of the explicit content of the message. It can be defined as a technique used to classify signs. Content analysis as a method recognizes and highlights the main points or axes of a text (or photo, video, etc.). In this method, the implicit content of the work needs to be examined as much as the obvious aspects. In this research, descriptive analysis is used to point out the frequency of specific topics and general theme analysis. This article has benefited from content analysis in the description of the collections and Paul Gee’s text analysis. According to Paul Gee, the analysis of the text is the analysis of the language used in the situation. In this research, language means the system of representing everyday life objects in the works of contemporary photographers. Paul Gee believes that the internal dialogue of the text shapes its conditional meanings and it is not possible to get out of it. As a result, the artistic text is able to create its conditional meanings through its internal language. According to Paul Gee, these texts have a kind of social praxis that creates identity. These texts create new actions and promote new policies.In this research, with the help of Paul Gee's discourse analysis method, we will identify the linguistic actions that are performed in each of these functional parts of the language. In his two books, "Introduction to Discourse Analysis Theory 2005" and "Discourse Analysis: A Toolbox 2011", James Paul Gee has mentioned the method of discourse analysis, which believes that every linguistic text consists of "six parts". And according to the "seven linguistic actions" that the language performs, reality occurs. If in the analysis of a text (here we mean photography) we can identify these seven linguistic actions and the linguistic elements and relationships that make these actions practical, we can analyze the descriptive discourse of a text.What this study emphasizes on is not the descriptive attention of the existence of objects, but it is a door to confronting and contemplating the objects, which leads to reflection on everyday life and to the explanation of the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers.In contemporary art, objects without human presence also have a meaning and have a special place. The beginning of the use of objects in art goes back to Marcel Duchamp who, by using the object itself and changing the title, changed the attitude towards matter and caused a revolution in the attitude towards everyday objects. Although this representation has been accompanied by ups and downs in the expression of the idea, the mere representation of it has not changed. For example, in the past, artists used objects for their representation and visual appeal, and in the modern era, this representation has led to a change in the artists' vision of the objects and phenomena of everyday life. In the era of new art, where the idea behind the representation of objects is to invite the audience to think and contemplate the artist's perspective, the objects of daily life have continued to be a constant in modern art. In photography, which is one of the branches of art, objects have always been the constant basis of images, either separately or next to people. In this article, an attempt has been made to examine the importance of objects in the works of male and female photographers and how they are represented.This article deals with the representation of objects in the photographs of contemporary Iranian artists, and by studying the characteristics of the artists' works and how they deal with the subject, it aims to answer the question of whether there is a difference between the representations of everyday objects in the photographs of male and female artists. In most of the photographs taken by female artists of objects, they are represented next to women; while in the works of male artists, objects have an independent identity and only the physical and commodity aspect of the object itself, has significance. In photographing objects, women seek to give importance to women's identity and assert lost social rights. A work of art is an object that has emerged from the artist's perspective on world affairs. What has turned the everyday object into a work of art in these works is its separation from the context of everyday life. Through art (here, photography), objects are separated from their everyday functions and become objects to be seen. It is their separation from their usual context that gives them an appearance and makes them worth seeing. In this type of looking beyond reality, the value of objects and materiality is revealed and they can be separated from their empirical dimension through observation and reflection, and can be considered art. In Art as Device, Shklovsky claims “there is a difference between everyday objects and artistic objects because there is no insight in everyday objects and we experience them unconsciously." In fact, by emphasizing everyday objects and highlighting them, these works play an important and fundamental role in creating meaning and turning them into a work of art.

Throughout history, humans have faced the phenomenon of war in their lives, and war is also a set of social issues that are included in the category of anomalies in human life, as well as damage and consequences. It brings with itself destruction, anxiety, chaos, and death. Naturally, due to the mentioned reasons, the artists of the societies react to this issue and are influenced by it. Artists, as leaders of art and culture, have different approaches to war based on the time and place conditions, the aesthetic standards of their era, as well as their expertise in different artistic fields. The effects of historical wars, both big and small, can be seen in different ways in the cinematographic, visual, literary and musical Artworks. In Artworks related to war, artists represent narratives and individual and collective feelings. These concepts make the survivors and the new generation understand the events and disasters that sometimes bring a sense of shame and sometimes a sense of collective pride. Artists throughout history, inspired by some common cultural, political, and social conditions, record narratives or embody their personal view of events, among which some retell the war with a heroic perspective, and some also depict catastrophes and destructions. These cases are sometimes evident in the world of anime and animation. Anime and animation, due to their features, i.e., conveying feelings with the help of images and movement, the freedom of the artist in designing characters and using visual elements and qualities, makes it possible to create a deeper connection between the artist and the audience. Many artists around the world have recounted the tragedies and consequences of war by relying on this field of art. For example, Japanese anime artists such as Miyazaki and Takahata have started creating works of art in line with the Second World War, which had engulfed Japanese society at times. The swing is considered to be the work of Isao Takahata. It should be noted that animes, which are animation products specific to Japan, include a collection of several artistic fields, including drawing, painting, acting, dancing, sculpture, photography, and music, and in this, it can be said: Anime art is included in the category of visual arts, in such a way that aesthetics, the effect of its elements and its visual quality require a general understanding of the principles and basics of the aforementioned arts, as well as having visual literacy, because having a coherent artwork comes from the basic combination of qualities and visual elements that some of these qualities and visual elements are changed in line with the theme of the anime. It seems that the focus of the war on some elements and visual qualities was not unaffected in the anime "Grave of the Fireflies". From this point of view, the question raised for the researcher is: What effect did the centrality of war have on some visual elements in the pictures of the Japanese anime, Isao Takahata's Grave of the Fireflies? And the purpose of this research is to study the effects of the focus of the war on the visual elements in the pictures of the Japanese anime, Grave of the Fireflies, by Isao Takahata. This article has been done in a descriptive-analytical way, and the information contained in it has been obtained through the use of some library and internet sources, as well as observation and study of Isao Takahata's Grave of the Fireflies anime have been collected. In this way, some of the visual elements and qualities present in the considered sample pictures have been investigated based on the effects of war on them. The findings of this research show that: the lines that in some way lead to the formation of the texture as well as the rhythm, in the example of this research, have the task of showing the facial scars, scratches, and characters having mud on their  bodies. In this anime, the intensity and weakness of the lines in some scenes intensify and induce the sense of isolation, loneliness, and suffering caused by war. If we pay attention to the design of the two characters Sita and Setsuko during the anime, we will find that the closer we get from the beginning of the work to the end, the more lines appear on their faces, bodies, and clothes, The multiplicity of these lines and the textures formed through them in the pictures of the artwork can express the helplessness, fatigue, endurance of many hardships and the physical damage caused by the war to Sita and Setsuko, which, of course, in this anime is similar to the rest of Takahata's works. The peripheral lines of the elements and characters are also preserved, of course, these types of peripheral lines are a signature of the director. In animes such as Grave of the Fireflies, which follows the theme of war, in the scene after the air strike on Kobe city in this anime, when Sita looks at the cityscape from a distance, the  ruins look like they are covered with a layer of grey colour. For example, the greenness of the plains has been replaced by dull green colour and the blue colour of the sky has been mixed with grey as if they carry a layer of dust and sadness with them. Of course, it should be noted that the game with the element of colour and its saturation is also used as a tool for emphasis in the pictures of the work, such as when the people of the city start collecting debris and destroyed household items. They say that Sita and Setsuko appear in the centre of the frame with a bright and clear colour and the rest of the people who are struggling in the background are depicted with high colour saturation, thus emphasizing the main characters of the story. The presence of contrast both in the content and visual layers of the work shows the contrast between a peaceful life and a life full of anxiety and pain caused by the war. In the content part of the work, we can mention the cherry blossoms. In Japan, every year during the blooming of the cherry blossoms, a ceremony is held along with an excursion in nature. These blossoms do not survive more than a few days and soon They are lost. The depiction of the family of four, Sita and Setsuko, in the middle of a bunch of cherry blossoms, can be a sign of the short life of this war-torn family, because in the rest of the scenes of this anime, each of these characters painfully lose their lives. It is clear that the desired visual elements do not create a sequence by themselves or by chance, but it is the director who arranges the characters and other elements according to the centrality of the work and the content in it. In the anime "Grave of the Fireflies," it seems that the composition has been done carefully and based on the principles following visual arts and cinema. For example, the opening images of the movie Sita's Half-life at the train station, show the use of golden proportions in the composition of the desired anime image. The correct use of elements made this work known as the best anti-war anime. The images in this anime are like paintings that have preserved their beauty despite portraying a bitter and dark story. In the image of the escape sequence of Sita and Setsuko, the composition of the page is such that the two characters are surrounded by circles. The placement of two figures from the back view in the middle of the circular frames, which themselves induce a magnifying glass-like look, evokes a sense of pursuit in the audience, these views, through the correct composition design, even the moods, the spirit of the characters has also been well conveyed to the audience. Movement, as a visual element in anime, sometimes carries with it a sense of enchantment and magic, in the anime "The Bury of the Glow Worms", the movement and vibrancy of the worms give the audience a magical and enchanted feeling. Because, when the characters of the work are disappointed, fireflies appear, in the middle of the rice fields in the dark of night when Sita and Setsuko talk about family and parents, the sky is full of worms. It becomes a nightshade. And when the candy can of Setsuko is thrown out of the station as garbage by the train station attendant, the fireflies start moving again in the form of luminous and magical points.

Nations have their heroes unimaginable qualities from ancient times; these heroes are sometimes eternal and out of reach like the gods in ancient Greece, the spirits of nature in the land of Japan, and the Emshaspandan in ancient Iran. Each of which is the source of transcendental powers, and sometimes, like earthly and ideal beings, who have appeared in the national epics of every nation, fulfilling the golden as well as unsatisfied desires of a nation. Like Shishigami or the spirit of the Japanese legendary nature and Rostam and Esfandiar in Ferdowsi's epic. It should be remembered that in all myths, the two forces of "good and evil", "Ahuraian and demonic", "good and evil" are always in conflict with each other and "good" will prevail over "evil" and for this reason, the same concepts are seen in the creation of most tribes. The controversy of this duality, one of which is rooted in light and good and the other rooted in darkness and evil sometimes it will end up in the hands of mythical heroes. In the history of ancient Iran, two forces are constantly in conflict with each other, one is the symbol of light and good and the other is the force of darkness, which represents evil. The force of good is the force of Ahura, and the force of evil is demonic, like the gods of good fortune in Japan, who in some manifestations worship demons or symbols of evil. In the manifestations of good and evil, the heroes manifest all the positive traits, and the anti-heroes also manifest the characteristics of evil Therefore, anti-heroes engage with them sometimes for sensual purposes and sometimes to diminish the ability and competence of the manifests of good. These concepts are now conveyed to the audience in the new format with the same messages in this way, the manifestations of the forces of good and evil were widely narrated first in the form of stories and legends it was possible that through art, the heroes in them became visible and carried their own identity and message. In the field of art, animation and anime are some of the appropriate ways to turn myths and stories carrying the concepts of good and evil into a visual message in communicating and conveying the message to the audience. It can be said that animation is one of the most faithful media to the theme and structure of myths inspired by myths and can present the narrative to the audience from a new perspective. Persian and Japanese myths and legends carry some similar features, including in the manifestations of good and evil which can be displayed through animation. In other words, the elements in myths and legends are a good tool for illustrating and ultimately creating an animation. One of these Japanese anime works is The Legend of Princess Mononoke by Hayao Miyazaki and Iranian Animation is the latest story by Ashkan Rahgozar which seems to have a common basis in representing the concepts of good and evil in their images to convey to the audience. Thus, the question posed in this article is: The manifestations of good and evil in contemporary Iranian and Japanese art in the two cases of the Japanese anime Princess Mononoke and the Iranian animation of the last Fiction, what do they have to do with each other? And its purpose is to discover the relationship between the forces of good and evil in the contemporary art of Iran and Japan in the two cases of Japanese anime Princess Mononoke and Iranian animation is the last story. This research is of descriptive-comparative and has been done by library tools as well as observation and review of some Iranian and Japanese animated cinema series. The method of data analysis in this study is qualitative, relying on the research method and by the focus of the present study, comparison and study between picture data on two case studies have been done pictures and texts in this article are mutually exclusive and complementary. In addition to written documents, pictures are also referred to as advanced research goals. Based on the cases mentioned in this article, first, in two sections, the conflict between good and evil, as well as good and evil in creation, are described in general from the point of view of Iranian and Japanese mythology. Then, for a better understanding of the contents, a review of the Princess Mononoke anime and the animation of the last story has been formed. In the following, by examining the method of characterization in two works of form and also the colors used in creating the character of the representatives of good and evil (hero and anti-hero) are examined. As well as the transformations made in the form of the characters of good and evil in the form of Mononoke have been studied. Finally, in addition to adapting the characters of the Iranian guards to the Japanese ninjas, the effects of the demonic touch on the bodies of the heroes and the visual changes in the appearance of positive characters have been studied. It should be noted that using the mentioned method in research, the nature of which is a kind of comparison between cultures and nations opens the way to the issues, questions, and goals in the present article. In the section on the struggle between good and evil, it should be said: The conflict between good and evil is also referred to as the war of light and darkness. This is also the case in the creation of most nations and nations of the world from the point of view of mythology, and the very beginning of the creation of the world, its system has been a dual system. For example, in the creation system of Iran and Japan, from the point of view of mythology, from the very beginning, the forces of good and evil enter the world arena. They are the product of evil. Sarwan is in the Pahlavi writings of the god of time. According to Zoroastrianism, at a time when nothing existed, Zarwan worshiped as a constant god to have a son with the ideal characteristics of Ormazd. At the same time, the devil's sperm is formed next to Ormazd. In Japanese mythology, as well, there is a double standard. The Japanese male deity is called Izanagi Nomikoto and the female deity is called Izanami Nomikoto. Izanagi and Izanami descended on the earth according to the order given by the old gods, they were ordered to create the earth, and finally, they built a suspension bridge between the earth and the sky and stood on it. Izanami is the god of good and Izanagi is evil. Today, such concepts, in the field of art and the production of anime and animation, in addition to differences in nationality, sometimes appear in the same way in the form of pictures. These functions and similar forms can be derived from the use of some identical visual elements in the creation of the characters of the two works. The creator of the artwork, with elements such as form, color, texture, and other visual features, can show the good and evil of the nature of the characters in the anime and animation to the audience through the pictures. Because by using these elements in character creation, some concepts can be represented in a way that is more understandable according to the taste of today's audience. In the Japanese anime, The Legend of Princess Mononoke by Hayao Miyazaki and the Iranian animation The Last Fiction by Ashkan Rahgozar, which have a legendary-mythical genre, some of these performances have the same function and sometimes the same mood. The mentioned cases are a kind of narrator of the manifestations of good and evil in contemporary Iranian and Japanese art in the form of anime and animation.

One of the methods of visual expression that presents a story and narrative by relying on a visual language called comic book and in part includes the two main categories of comic strip and manga Each of which is a collection of sequential paintings that in their way tell a story to the audience. Comic strips in the modern sense originated in the United States, and in contrast to them, manga originated in the East, especially in Japan. Among these, Japanese manga has a large audience in Iran today, especially among young people, which has led the country's artists to create comics with Iranian features, including the comic "Marz"., it seems that the Japanese manga, willingly or unwillingly, as a source of inspiration for the Iranian artist, creates effects that manifestations are reflected in the final Artwork by the Picture with some changes and transformations desired by the artist. Therefore, the question that arises in this article is: Based on what backgrounds have the visual elements of Japanese manga been used in the Pictures of the Iranian comic, and have they been transformed? And the purpose of this article is to trace the effects that the visual elements of the Japanese manga have created on the picture of the Iranian comics. This research is of descriptive-analytical type and has been done through library tools as well as a study on the collection of Japanese manga and Iranian comics. As a result, some manga features appear, such as the type of characterization, the inspiration for the Takarazuka Theater, the use of the Kiga style the Marz has been influential in the creation of the comic, and finally, the coexistence of the mentioned elements with the pictorial elements in Miniatur, has tried to create a native work.

To keep their tradition alive, the people of Japan promote it popularly that In addition to the domestic audience, there are many audiences around the world from any age group. Anime covers a variety of subjects including science-fiction, romance, legend, and myth. Like the Tale of Princess Kaguya anime by Japanese director Isao Takahata, based on the Japanese ancient legend of the bamboo cutter. Legends include features that can be displayed through anime. In other words, the elements present in the legends are an effective tool for creating an anime. But to present and convey the concepts contained in the myths in different eras with today's audience, some elements will be transformed or changed. Based on the available tools, it can be said that animes with traditional themes become a part of cultural heritage and oral literature in the long run because to depict them, pictures are used that induce the presence of some traditional and indigenous elements."One way to convey such concepts through traditional elements to the audience is to use intertextual relations relying on traditional text to be used more intelligently, relying on such relations, the extent and type of presence and impact of the text in the present text can be more easily understood that which of the following is explicit or explicit, implicit and ironic". One of the tasks of an anime maker in producing animes with traditional and cultural content is to update some traditional elements for modern audiences, that in the field in question, all these interactions are performed on related pictures. Therefore, the purpose of writing this article is to examine some of the selected visual and Japanese traditional elements in the anime of Princess Kaguya that have changed and they found their way into the modern world of anime pictures. And also the question that this research tries to answer is as follows: In the Princess Kaguya anime, how are some Japanese traditional elements and concepts incorporated into the anime in the form of modern pictures? This research is of descriptive-analytical type, and Library and Internet resources have been used to collect information and data. According to the available findings, it can be said that: The Japanese director Isao Takahata used pictures related to some of the traditional elements in traditional paintings and illustrations, as well as popular beliefs in his native Japan, to make the Tale of Princess Kaguya anime. And uses them explicitly and implicitly as Gerard Genette puts it in his definition of intertextuality. And uses traditional concepts in the form of modern pictures in the field of anime To influence the domestic and foreign audiences and introduce the traditional concepts unique to their country to them. These concepts can be found in areas such as the type of clothing and makeup, the personality of Princess Kaguya, lifestyle, and the field of religion.

Visual representation in the media world of digital images is an emerging phenomenon in which its achievement requires the identification of the epistemological and technological system of postmodern and media art, and the developments that have emerged in the path of the transformation of subjectivity. The visual representation of the female subject on Instagram as a social network can provide a suitable perspective for examining the contemporary representation and can reveal the status of the female subject in social media by distancing itself from the modern subjectivity. Via a descriptive-analytical research method and employing Jean Baudrillard's ideas of media, the present study seeks to answer the following questions: How has the Instagram social network with its technological structure and media circulation affected the image representation of the contemporary Iranian female subject? What position can be given to the artist-subject and the image-object in the contemporary media representation? The study aims to conduct a comparative analysis of the representation of the contemporary Iranian female subject in Instagram hyperreality, relying on Baudrillard's ideas. The population consisted of the women’s published photos on Instagram, selected through a purposive sampling method. The inclusion criteria of images were based on Baudrillard’s concepts. The results revealed that the world of contemporary women’s media representation is a world without reference or hyperreality that denies the possibility of a subject’s agency in a break from reality, making her face the objects that the media and its technological structure have put forward, that is, transaesthetic and transsexual objects that become empty simulacra, seeking for their new identity and reality based on the media world.

Legends were first created as fun stories like fairy tales, but with serious purposes, which are a good source for anime adaptations. Anime and animation outside the aspect of pleasure and entertainment can include various concepts, Concepts that include the beliefs, convictions, myths, and myths of a nation. Adapting ancient literature and myths and discovering the Intertextual relations of myths, anime, and animation is one of the methods that, today, has been considered by many screenwriters and directors in this field. Legends include situations and features that can be displayed through animation, like the picture. On the other hand, the elements in the legend are a good tool for creating animation. Due to the visual features, structure, and amazing capabilities, Japanese mythology requires directors to turn myth into animation, using media language and methods of literary adaptation and Intertextual relations. The Japanese present their myths and culture in a popular way order to perpetuate them that in addition to Japanese audiences of all ages, audiences from all over the world are also fascinated by Japanese culture and myths. It can be said that anime such as The Tale of Princess Kaguya, which contains many parts of the picture of Japanese folklore and tradition, in addition to preserving Japanese myth, tradition, and culture among domestic visitors, is a reason for Japanese youth to be proud of myths and their culture. Moreover, through the sale of anime, clothes, and toys and even attracting foreign travelers from their audience, we see the growth and development of the economy of that country. The purpose of this research is to study tools such as the picture and its features in the elements which Isao Takahata has used as traditional pre-text to create anime and introduce the culture and traditions of his hometown. The question that arises around this is that: How did Isao Takahata use Gerard Genette's concept of intertextuality for visual adaptation in The Tale of Princess Kaguya? And how has using these visual arrangements affected the audience? In the Japanese anime, the Tale of Princess Kaguya, we see scenes in which visual signs of Japanese culture, tradition, and myth can be seen which indicates the presence of Intertextual relations. In the present study, these searches have been formed in the field of elements such as form, color, composition, and texture. The form is one of the most basic artistic concepts that is formed in the artist's mind before it is revealed and in fact, they are a state of the art text. In the production of anime, with the help of this element, some of the messages intended by the director are conveyed to the audience; that message is the same as the video text in the anime and can be understood through the presence of an intertextual relationship. In the pictures of the Tale of Princess Kaguya, the shape of the house in the village is made of bamboo, tree branches, and straw exactly like the form of these structures in Japanese villages in the real world. To convey the concepts in the traditional architecture of his country, the director has explicitly used the visual texts in traditional paintings and illustrations, and even its natural state in Japanese nature. In the desired anime, the form of a dragon can also be seen. The dragon represents the presence of spiritual power and is an ancient symbol of Eastern mythology. According to the Japanese mythology, they inhabit the waters and oceans next to the water gods, just as in the Tale of Princess Kaguya, the dragon rises from the sea. The presence of the dragon form in artwork also indicates goodness and happiness in a way, and it can indicate the existence of negative energy and evil in which case the dragon form is depicted angrily with fragile and sharp lines. In the Princess Kaguya anime, the dragon form is used as a text that carries the message of folklore in such a way that it takes various forms in positive and negative situations. It also expresses an intertextual connection explicitly with traditional Japanese and cultural data. In producing an anime, one of the most significant ways of conveying concept and feeling is choosing the right color in the scene. The more the director uses the element of color and their quality correctly in all scenes, characters, and spaces, the more pleasant the effect will bring to the audience. Color acts as a symbolic element that displays the deep and inner meanings of an artistic text and its components. In some early scenes of the anime, the audience is confronted with the bright colors of flowers and plants in nature which indicates peace and freedom from any kind of conflict and negative energy in rural Japan. In addition, the color of the characters' clothing also contains concepts and emphases on them like the color of the yellow and transparent cover of Kaguya with the friends of the village who are dressed in blue, and also its red cover next to Lady Sagami, which expresses its lively and aggressive personality. In this way, the concepts in the color element are implicitly and ironically inspired. Arranging the visual elements in an artistic text and arranging them, creating coherence in the arrangement of objects and parts of artwork, expresses the concept of composition. In the illustrated scroll of the seventeenth century called "Taletori Monogatari" in Japan in some scenes, a similar composition with anime can be seen. Like the scene of the people of the moon coming to earth and also the scene of Kaguya's suitor falling down the ladder, which can be explicitly mentioned as an adapted text in the picture composition element. The texture is one of the elements of visual arts, which is mostly associated only with the sense of touch, while its importance is more related to the acquired ability and power of vision which is accessible through experience and information. In anime and animation, due to the unavailability of texture carrier surfaces for touch, many artists who are responsible for creating texture use digital resources and programs to create it. For example, the spongy texture of the clouds that carry the inhabitants of the moon to Earth, in contrast, the rough cloud texture with diagonal lines is used to depict dragons in anime scenes. Another manifestation of the texture element in the Tale of Princess Kaguya anime can be found in the role in the costume of the anime characters. The texture of the clothes designed in the anime in a way expresses the gender of the characters and varies according to whether they are male or female. The texture of men's clothing is simple and the texture of women's clothing is often patterned and these textures can also be seen in traditional Japanese paintings. This clearly shows the intertextual relationship between traditional pictures and Isao Takahata's culture. The discovery of these relationships suggests to some extent that the anime maker used the capabilities of animation, myth, and legend that are rooted in the beliefs of the people of that country to create entertainment while conveying information unique to his nationality and this will be possible through the use of a successful intertextual relationship for the "anime maker" artist to convey their intentions. The present study by identifying the visual features of the Tale of Princess Kaguya legend and examining the related pre-texts and their relationship with the texts tries to show how to use the text and image correctly in creating a successful art work.

Iran and China, as two territories boasting of a great and rich art and cultural background, have always been the most influential among the world countries throughout the history. The historical background, identity and nobility have been their commonality and during their long historical path, the inhabitants of the two geographical boundaries have sometimes experienced close and profound interactions. The era of the influential Sino-Iranian interactions was concurrent with the development of the most important and one of the most magnificent styles of Persian illustration, i.e. Herat School. Herat School is the sum total of the arts and cultural values of the preceding schools of Bagdad, Tabriz and Shiraz. Nurtured within the aforementioned schools, the Herat School became the antecedent of Tabriz II School resulting in efflorescence of art and the formation, emergence and stability of Safavid art of Isfahan School. The share of Chinese illustration styles on the Illustration techniques of the Timurid era is still shrouded in mystery and its technical and historical dimensions, details and stylistics has to be precisely surveyed. On the other hand, the analysis of the arts, cultural and historical circumstances of the Timurid era related to China, contributes to the clarification of the extent and way in which the artists welcomed the Chinese illustration techniques. The Ming dynasty (1368-1644) was heir to great, important eras of Tang (618-906), Song (960-1279), Yuan (1260-1368) dynasties. This era, coincident with the rule of the Timurids in Iran, is known as the victorious return to the national sovereignty in China. Relations on the western Chinese borders were very friendly to which the exchange of ambassadors and political delegations testified. The kinship and historical affinities of the two cultures in the areas of history, literature and religion (Islam) in China and Iran - Ming dynasty of China and the Timurids of Iran - developed relations that can be explored using the available resources. Moreover, such relations have been well reflected in the artworks of the two countries. The geographical scope and time span of the research encompass Iran during the Timurid period (1507-1370 AD), and the Ming period in China, but in order to observe the approximate synchronicity , the beginning of the Ming era (1368) to the end of the tenth Ming Emperor Hong Ji (1505) has been selected for study. The year 1505 is approximately concurrent with the end of the Timurid period and the beginning of Safavid rule in Iran. Comprehensive and methodological examination of graphical relations of the two regions – Iran and China –in a specific time span contributes to the more profound and precise recognition of the visual arts and their historical root. Besides, it helps clarify the process of evolution of the visual culture in the light of historical communications. The paper mainly intends to make a comparative study of the illustration styles in a part of the immediate history of Iran and China - the Timurid Iran and part of the Ming period in China. Such goal may be achieved through studying the historical factors influencing the mutual interactions to be followed by analyzing the works of illustration in both the cultures. The research is theoretical in terms of objective and descriptive-comparative in terms of method. The study first deals with the general research guidelines including the research literature. Then it continues to review historical documents of Iran and China to find the historical roots and causes of communication and interaction. In general, the research data is presented in two forms: a) historical data gathered through the study of valid historical as well as written, visual and electronic sources. In this section, the principal method of research is descriptive-historical; b) historical data which, based on their sources, are categorized as images and are gathered through library or electronic sources. Such visual data are studied using a comparative approach and their splitting them to bits and pieces help discover their visual structure and consequently, their comparative meanings. The information required to conduct this study has been mostly collected through desk study of library sources such as books, treaties, dissertations, research papers, essays, visual and electronic data related to the illustrations of Timurid Iran, as well those of the Chinese Ming era and surveying the relationships between them. Due to the "problem-oriented" nature of this research, the images have been selected based on their visual features and content.  When taking a visual-orientation approach, the images are selected based on their visual structure whereas when content is considered, ‘concept’ is the basis of selection.   The present research seeks to find answers to the following questions. How were the relations of Iran of Timurid era with China of the Ming rule? In this possible interaction, how was Iran’s visual culture affected by its Chinese counterpart? What are the common signs and symbols in the selected samples? Due to the problem-oriented nature of the research, those prominent artists have been chosen for the purpose of this study who are representative of their own viewpoint and school of thought and their works are considered as documents testifying to the existing relationship between the illustrations styles of Iran and China during the aforementioned period. The paper comes to this conclusion that despite the existing official relationship between Iran and China since the Parthian period in Iran, concurrent with the reign of Western Han in China, the Chinese visual arts have influenced the Iranian illustration styles to the end of Timurid’s period in Iran (concurrent with the rule of Ming dynasty in China). From among those Timurid period samples studied, the most influential contribution was from Tang, northern Song and Ming eras.

Iran and China have experienced ancient relations and interactions throughout history. The most important relations have occurred during Ilkhanids, and Timurids. The peak of interactions dates back to the era of Timur's descendants. The pictorial art and its dependent elements have gone through drastic changes as a result of interactions. During that period, Iran was influenced by elements and Chinese patterns. In the study of a portion of such works at Istanbul Topkapi, a Chinese religious character, Guan- Yin, who was worshiped by the Chinese as a deity, is seen throughout the paintings. The main research question is whether or not the works copied from Chinese originals at Topkapi have influenced their contemporary counterparts (15th century) in Herat. And if so, which are the implications and evidence of such an influence in gestures and elements? It is hypothesized that the image of the religious character, Guan- Yin, has influenced the Timurid-era paintings. The aim of this research is to study the sample works performed by Herat school in terms of influence by introducing Guan-Yin and related images. The paper compares some selected works of Herat and existing Chinese examples from Topkapi Collection using descriptive method. The result is that the works at Topkapi, created under the influence of Chinese Guan-Yin, have influenced some instances of Timurid-era paintings, school of Herat, in terms of gestures and elements. Iranian artists have been influenced by the Chinese character in their pictorial only in depicting the figures, without a consideration