فرنوش شمیلی

 The mausoleum of twelve imams of Yazd is a thousand-year-old building with a valuable inscription in decorative Kufic script under the dome, which is very important in terms of visual richness and worthy of study. Gestalt is one of the theories of the visual perception process in psychology, and the principles of this theory can be useful in the recognition of works of art. The most important principles of Gestalt are the principle of similarity, symmetry, proximity, layering, integration, continuity, relationships between form and context, superimposition and common destiny. The inscription should be placed. In this way, the amount of use of these principles in its design will be determined and the quality of the resulting performance will be revealed.This research seeks to answer the question that to what extent and how the principles of similarity, contiguity, symmetry, completion and overlap were used in the design of the inscription of the tomb of the twelve Imams of Yazd, and what is the degree of significance resulting from the use of each of these principles?This research was carried out in a descriptive-analytical way and the data were collected through library studies and field surveys.The results showed that the principles of similarity and overlap are used to a large extent, the principle of proximity and completion to a large extent, and the principle of symmetry to a moderate extent are used in this inscription. The result of the application of these principles is the realization of propaganda to a large extent, and as a result, the better organization of the components, the easier reception of the work and the active communication of the audience with the inscription.Key words: Tomb of twelve Imams of Yazd, inscription, visual perception, Gestalt theory, pregnancy.

The motifs obtained from the early civilizations had a conceptual value and were not based on symbols, legends or religious rituals just to express beauty. These same values ​​and conceptual expression have turned the patterns into a kind of signs, and drawing them became a contract and symbol that the prehistoric tribes used to convey messages. From the very beginning of humanity's understanding of its surroundings, man has symbolically depicted the influential factors in his life in his handmade works. In most of the historical periods of ancient Iran, artists used the motif of the sun as a symbol and drew it on works of art, and this process can be seen in various works of art until modern times. The sun is the largest star in the solar system and is located in its center. The sun is a complete sphere made of hot plasma and is the main source of light, energy, heat and life on earth. This important fact has been revealed to man since the beginning of creation, that is why it has a significant presence in the mythology of all the nations of the world. Even in some ancient civilizations, the sun has been considered and worshiped as God and creator. When man turned to agricultural life and realised that the sun would make the earth fertile, grow plants, warm and give strength to man, they worshiped the sun. Also, in different eras, it has had different genders, so that sometimes the sun is known as the female sun and sometimes as the male sun, and it has been depicted and honored. The most popular prayer in the world is addressed to our Father who is in heaven. The sun star has always had its own special place in Iranian civilization and has had a significant and symbolic presence in culture and art in all historical periods before and after Islam. The sun is reflected in Iran's art as a symbol and symbol in different forms in the historical periods of Iran. This bold presence of the symbol of the sun in Iranian arts has always been beyond formal decoration with a belief support and the attitude of the living society. After the arrival of Islam in the land of Iran, the beliefs and teachings of the previous religions were removed or adapted to the Islamic religion with gradual changes and took place in the mysticism, thought and culture of the people of this land. The motif of the sun is considered one of the visual elements that still maintains its previous position in the art of Islamic Iran and has a special place in the art and culture of Islamic Iran, especially the Seljuk period. In ancient Turco–Mongol myths and legends, the sun is embodied as a man and a woman; That is, in one period based on ethnic beliefs, the sun was imagined as masculine and male, and in another period it was imagined as femal. Even the creation of mankind is attributed to the sun in this people. The researches conducted on the mythological texts of the Turk and Mongol people show that among these people, the sun is shown as the source of reproduction and creation. After expanding their rule from Central Asia to Egypt, the Seljuks created new conditions, a scientific-cultural renaissance in the Islamic world, especially in Iran. The cultural atmosphere of the society and the emergence of many scientists and artists made the sultans and the rich always patronise artists and craftsmen. These supports caused the emergence of a certain style and method in arts and industries. The period of Seljuk rule in Iran is another period of flourishing of Iranian-Islamic culture. During this period, Iranian art experienced a tremendous change and it led to the fact that the history of Iranian art recorded another of its most brilliant periods in this period. The art of this period has progressed in all fields and fields of art and continues and completes the art of the previous era. Art developed and expanded to its highest extent in Iran during the Seljuk period. Seljuk sultans always supported artists and scientists and tried to expand culture and art based on Iranian, Islamic and Turkish beliefs. The art of this period is influenced by the rich treasure of ancient Iranian art, Islamic art, and the art of immigrant Turks, which combined the special art of the Seljuk period. The Seljuk period is considered one of the most brilliant periods in the history of Islamic Iran in terms of the development of science and technology, art and literature. Persian language developed and spread more and more. The construction and establishment of military schools, caravanserais, monasteries, mosques, libraries and other scientific centers had a great impact on the development of culture and art of this period. In this period, great progress was made in most fields of arts and sciences. Seljuk sultans were great patrons of industry and art and gathered artists and professionals in their palaces and government headquarters in Merv, Nishapur, Herat, Ray and Isfahan. After accepting the religion of Islam according to Sharia, Iranians tended to live a simple life. Since the Islamic laws forbade the making of decorative works of gold and silver, the attention of Iranians was more focused on the making of clay works. Also, the progress of construction techniques, special elegance, skill and variety of pottery works caused the further development of Seljuk pottery art. With the development of Seljuk pottery, the golden age of Iranian pottery emerged. As a result, the potter was able to sign their name and the date of creation of his work on their pottery. The Seljuk period is one of the dynamic periods of the Islamic world in the field of culture and art. The Seljuks ruled in different regions (Iran, Central Asia, Türkiye). The support of the Seljuk rulers (presentations of Iranian scientific ministers) to artists and sages caused a remarkable expansion of culture and art in this period. Despite the extent of the political geography of the Seljuks and the occupied regions, art has made significant progress in all fields and has continued the path of ancient Iranian art. In fact, one of the prominent features of Iranian Islamic art is the continuity and evolution of different art schools influenced by the art of previous eras. In this way, the process of creating works of art in every school and period of history, in subsequent schools and periods, has continued and has taken an evolutionary approach. With this premise, examining and analysing works of art in the historical periods of Islamic Iranian art requires a theoretical approach to investigate and study the influence and relationships between works of art in different periods of this vast land. For this purpose, in this study, the intertextual approach was chosen to study and analyse the data. The primary purpose of man in making earthenware vessels was to store water and food, but over time, he gave importance to its beauty and the structure and surfaces of these vessels were a place to express aesthetics derived from their culture and worldview. Although the pottery of Iran has been studied and examined by Iranian and Western researchers in different historical periods, but the role of the sun on Iranian clay canteens has been independently studied for the first time in this research. In different historical periods of Iran, very beautiful and practical canteens were made, and in each period, the types of decorations and pictures drawn on them are different and sometimes repeated. This research seeks to understand the concepts of the motif of the sun drawn on Seljuk clay canteens. The main goal of this research is to know how the depiction of the motif of the sun in two Seljuk and Parthian terracotta flasks is related to Genette's hypertextual approach. In the intertextual relationship, it is not possible to create text (b) without the presence of text (a) or pretext. In this type of relationship, attention is paid not to the inspiration and partial influence, but to the overall impact of one text on another text. With this theoretical background, this research aims to investigate and analyse the role of the sun in two Seljuk and Parthian terracotta works. The main problem of this research is to understand the hidden meaning behind the motif of the sun on the Seljuk works, and the main goal is to understand the way and type of connection between this motif and the previous motifs from the perspective of intertextuality. This research is of a developmental type and a qualitative method. The method of data collection is using library sources and objective observation of the works, and the data analysis is descriptive and analytical with Gerard Genette's multitextual approach. This research seeks to answer two questions: Which type of hypertextuality tends more towards the influence of the drawing of the motif of Khurshid Khanum on the Seljuk terracotta canteen than the Parthian terracotta canteen? And in this process, what changes have been made in drawing this role?? In order to answer the research question, at first, two Seljuk and Parthian terracotta canteens inscribed with the motif of the sun were selected in a purposeful way and were studied and investigated in terms of thematic aspects of the period in question. Then, structurally based on Gerard Genette's dual indicators (function and relationship) it was examined and analysed and the research questions were answered. The results show that the effect of Khursheed Khanum drawing in Seljuk canteen from Parthian canteen based on Genette's typology of polytextuality in the category transposition and transposition have a serious function. The transpositions created in the bitext include changes (gender, shape, composition and color) and the Seljuk artist did not just look at imitation in creating a new and independent bitext and completed it very creatively.

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it.  The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

The Seljuk era, was a prosperous time in case of dealing with art; during this time art reached to higher level, as numerous and diverse artworks with cosmological concepts were created, which represents the significance of cosmology in this time. The artists in this era, by considering the position of astronomy and cosmological issues, frequently reflected the relevant concepts and contents as practical decorations and motifs in their works. This study aims to comprehend the concepts of cosmological motifs to target the mutual influence of Seljuk artists on each other while designing these patterns; Therefore, the manner these artists influence each other in designing the planet motifs and their meanings has been addressed in two artworks related to Seljuk era; in this regard, the following questions arises: Which kind of hypertextuality is more likely to be influenced by the design of the target motifs of the planets? And what changes have been made in these motifs while influencing each other? The research aims to understand the manner the design of planets' motifs influence each other and the alterations in the two target works by focusing on the hypertextuality theory of Gerard Genette.Research

A descriptive-analytical method has been adopted and the data was collected by using library sources; The results were analyzed relying on a qualitative method.

According to the research findings, the cosmological motifs that appeared in the Seljuk manuscripts are rather compatible with other built-in arts, in the case of decoration, besides considering the cosmological criteria; however, some changes have been made according to the artist's priorities. The artists in the Seljuk era were completely aware of the art developments of their own time and also the previous eras, as they tried their best to improve the art of their time by benefiting from the experiences of other artists.

the research finding showed that the planet motifs in «Ajaib al-Makhluqat» (hypertext) which is inspired by the planet motifs in the enamel bowl (pre-text or hypotext) have a transposition or transformation with serious function according to the hypertextuality of Genette. The created transformation in hypertext includes a variety of changes (gender, form, composition, and color). The miniature painter of «Ajaib-ul-Makhluqat» has not simply adopted an imitation attitude in creating a new and independent hypertext, as it has been designed differently.

The dominant and fundamental element in a religious architecture is the existence of the dome element, which was built in different periods in different ways; sometimes simple and sometimes decorated with special plant motifs and geometric designs. Usually, the structure of religious buildings and the ornaments used in them have unique features and represent the culture of that historical period and the style of art and architecture of that era, and the motifs used in the architectural ornaments can be considered as messages. “Seyyed Rukn al-Din mausoleum” located in Yazd city is one of the religious buildings left over from the Al-Muzaffar period, and the ornaments used in it influenced many of the architectural works of the mentioned region. Seyyed Rukn al-Din built this as school of Rokniyya and after his death the usage of building altered to mausoleum. In this study the murals of interior surface of this dome were selected to be studied. The present research, uses a different approach from the conventional methods of studying architectural ornaments, to analyzes the various layers of motifs used in the ceiling murals of Seyyed Rukn al-Din mausoleum, and its purpose is to understand the cultural and political developments of Al-Muzaffar period in Yazd city, based on the study of the relation between form and meaning in this work. To achieve this goal, we used Erwin Panofsky's iconology method to answer these questions: 1- What themes do the ceiling motifs of Seyyed Rukn al-Din mausoleum contain? 2- What concepts can be obtained from the iconological reading of these motifs? The research method in this qualitative research is descriptive-analytical, which is analyzed in three stages according to Ervin Panofsky's iconological approach. Erwin Panofsky's method in reading images consists of three stages: the first stage is pre-iconographic description which deals with formal analysis, the second stage is iconographic analysis that determines the relationship between form and subject based on literary sources, and the third stage is iconological interpretation which interprets and identifies the inherent meaning of the work in the context created. This research is an applied research and data collection has been done using the field studies and the library sources. The conclusion of the studies illustrated: In the stage of pre-iconography description on the interior surface of the dome of this mausoleum, the formal features of the murals were described and it depicted that the used motifs include a six-pointed flower, a six-pointed star, a twelve-sided sun (Shamseh) and its divisions based on numbers five, six, seven and twelve are designed as the infrastructure of motif design. The ornaments used included arabesque traceries and Khataei flowers, Thuluth and Kufic calligraphy used in blue (ultramarine), and the colors are white, red, green and brown tonality applied with watercolor technique. Also, usage of gilding is observed. In the hidden geometry of the dome, seven rings were identified in the central Shamseh, five hidden rings in the geometry of the dome, and a total of twelve rings in the composition of defined motifs. In the second stage, the subjects and concepts related to the used motifs were categorized based on the library sources. According to these, the motifs include the identified subjects of monotheism and oneness of God, the Prophet of Islam (Mohammad), unity in plurality and plurality in unity, justice, the twelve Imams of Shiites, the seven heavens, the sacredness of the number of five in Islam (five principle of faith, five daily prayers, the five members of Ale-Aba), righteousness, illumination, fertility, authority and glory. In the third stage, the interpretation of these subjects and the relationship between meanings and forms in the cultural and social context of that period were discussed. Based on this method, it was found that the motifs used in this mausoleum, due to the time and the religious beliefs of the builders and architects, have their roots in Shi’a, and artists have tried to use various decorative elements related to Shi’a to express the beliefs in this decoration. So, they intended to highlight the glory of their Shi’a beliefs in the Sunni era of Yazd. From the way of applying and dividing the geometric ruling system under the dome, it can be understood that artists of this mausoleum were not only bound by the principles and aware of the themes and content of numbers, but also they predominated the system of the hidden geometry that was applied in these murals. In fact, the unity and multiplicity in unity, which is the basis of creation, is in line with the application of the intellectual foundations of the Twelver Shi’a, therefore, it reveals the strong Islamic-Shi’a thought in the motifs of the ceiling of the dome of Seyyed Rukn al-Din mausoleum.

The current paper is a phenomenal semio-semantic study of the tree in Iranian modernist paintings. The motif of the tree would escape definition if confined to its semio-semantic dimension. That is why the present study intends to find new meanings for the complicated motif of the tree within the visual frameworks. The focus on the visual elements is central to this semio-semantic method. Interestingly, some Iranian modernist painters were preoccupied with the phenomenon of the tree in different forms. I have selected some works by Davoud Emdadian, Abulqasem Sa’idi, and Abdullah Ameri Alhosseini (picking two works from each artist). Along with the desk research including library and online sources, the data have been collected and analyzed according to the semio-semantic approach. The data shows that the becoming agent A/painter represents the motif of the tree by drawing a connection between the sensory-perceptual and the esthetic functions. Moreover, in the discursive processes, the becoming agent A/painter takes the advantage of elements such as the event, becoming, tension, phenomena, and body. The becoming agent B or the interpreter’s repetition of the process, during the passage through different layers of meaning and culture, re-creates the meaning of the tree as different layers are accumulated.Keywords: semio-semantics, phenomenology, phenomenal semio-semantics of the visual, tree

Although The neurophysiological basis of synthesia is associative connections between different regions of the the functional structor of the brain and synaptic connections form their basis, from the perspective of the neuropsychology of synesthesia, creativity is a sensory stimuli. it reflects the objective realities of the external world in the brain and integrates them with the common senses, moving along the path of interpretation, understanding, and cognition so that phenomena emerge via synesthesia creatively, finding an artistic spirit. Synesthesia is a deliberate attempt to evoke different sensory experiences in the audience through the liaison of music and color. The efforts of Kandinsky, Klee, Enrico Prampolini, and other artists and poets to use other sensory tools for a new understanding of visual elements and qualities and establish connectivity with the sensory perceptions of other artistic mediums such as music or architecture are also associated with synesthesia.Even Wagner believed in synthesizing the mediums of painting, dance, poetry, and music in a complete work of art and the existence of a world of sound alongside the world of light. In Iranian graphics, Ghobad Shiva’s works seem to establish connectivity among sensory perceptions-- the inseparable relationship between painting and graphics in his works is associated with the climax of graphics in the 19th-century West. In this era, the extent of the influence that painters such as Jules Cheret and Toulouse-Lautrec had on the poster design process was so significant that Jules Chéret, nicknamed “the father of the modern poster.” Lautrec is also a painter who created graphic works influenced by Japanese woodblock prints, opening a new path for modern posters. His works seem rooted in the history of Iranian painting because he believes that graphics did not come from outside Iran, contrary to shared ideas. However, instead, its reproduction technology did-- Iranians did not have a museum painting, and such a painting was the source of communication with the West during the Safavid era. He presumed that Iranian painting should be considered modern graphics with a consumption aspect. In creating his works, he paid attention to the main features of the structure of Iranian painting, abstraction, unique and traditional brilliant coloring, and idealistic and unrealistic atmosphere. Above all, he sought Iranian painting abstraction in his posters. However, relying on this abstraction, He achieved a new expression in creating music-themed posters in which visual and auditory sensory perceptions are cmbined. As a result, synesthesia appears in a new way and That is the main issue of this study. The research question is how synesthesia can be analyzed in Ghobad Shiva’s 70s music-themed posters.This qualitative study was done via a descriptive-analytical method,using library and documentary research (internet and archival sources). The study was done based on induction-based analysis by which the researcher achieved an analytical genealogy through data classification, finding patterns in and out of the data, and looking for patterns in the data. The research process was as follows: first, all of Ghobad Shiva’s posters were received from the artist’s catalog. Then, a total of 82 posters, created during 1970-1980 (the 70s) were collected. graphic works in music were numerous due to the many festivals, concerts, and music-related events of that era. Then, thirty-nine music-themed posters were selected via a purposive sampling technique based on the connection of the posters with their music themes. In the analysis stage, the works were classified based on the artist’s techniques in creating the poster, the works employing synesthesia were analyzed.If synesthesia is a neurological phenomenon, then the five senses are entertwined. Synesthesia activates a stimulus received through one sense throughanother, which is used in art to design alternatives to sensory experiences. The human perceptual system creates multi-sensory patterns of physical objects in mind. Perceptual objects are often multi-sensory, containing auditory, visual, tactile, and similar information.The first step in creating multi-sensory perceptual objects is taken as soon as the stimulus is presented to one of the sensory channels. A set of neural processes couple together information received from other sensory aspects. Synesthesia is the experience of two or more emotions where only one is stimulated, and in literature and art, it is used to explain one sense employing another.Equalization of musical steps and skips with colors by Newton; equalization of blue, green, yellow, and red colors with musical notes Do, Re, Mi, and Sol in Kessel’s famous organs; equalization of the sounds of instruments in Rimsky-Korsakov’s Principles of Orchestration; and equalization of the sounds A, E, I, U, and O with black, white, red, green, and blue colors in the works of poets such as Rimbaud in the poem “Voyelles” or “Vowels” (literary synesthesia); Schopenhauer’s seminal statement that the world is all a manifestation of will and music, and all arts have the desire to reach music; or the evidence showing that Franz Liszt and Olivier Messiaen used the synesthesia of colors and musical notes and sounds or musical keyboards (chromesthesia), all inform us about the long history and significance of synesthesia in philosophy, literature, music, and visual arts.The music posters of Shiva’s fifties are generally designed and executed for the chamber orchestra of radio and television. On a functional level, these posters carried the message of concerts and used various elements to convey this message. Shiva’s attention to the difference between the boundaries of painting and graphics made him follow the standards and rules of graphics. However, he did not look away from painting abstraction, and his works speak for themselves. Considering the definition, function, and mission of a poster, Shiva also achieved synesthesia through abstraction. Thus, Shiva’s 70s music-themed posters can be divided into six categories based on his individual graphic techniques:Representating synthesis of real musical objects with abstract formsHuman faceRepresentation of plantsRepresentation of birdsApplication of the Seven Decorative Principles of Iranian ArtApplication of visual elements Table 7 summarizes the poster-creating techniques, dominant elements, and colors used in Shiva’s works.Like Klee, Kandinsky, and many artists, Shiva used such a perceptual process to enrich his works. Generally, from 1970 to 1980, his works were categorized into eight categories based on art-creating techniques and the employed elements: summarized representation of musical objects with visual elements, representation of the human face, representation of plants, representation of birds, Seven Decorative Principles of Iranian Art (Abr Principle), and the application of visual elements. The present study displayed that Ghobad Shiva has succeeded in showing synesthesia in his posters using the visual elements of line, point, color (black, blue, yellow, red, gray, brown), and also the visual elements in the posters of the sixth category. Synesthesia in these works acts as a perceptual-neurological phenomenon which, by stimulating the visual perception (facing poster designing as a field in visual art), produces unusual experiences in another unstimulated sense, i.e., the auditory perception so that the experience of the second sense happens only at the perceptual level, conveying the association of the musical sound to the audience. This perception or association can also happen between sensory dimensions and other cognitive and processing paths.

Traditional design encompasses the artistic practice  of creating Slimi and khatai on spirals and sporadic arches. From this perspective, these motifs can be interpreted as symbolic expressions, akin to words embedded within the paradigmatic and syntagmatic axes to serve the purpose of storytelling. These motifs hold a dual significance with respect to both form and meaning. In this manner, the narrative elements that require pairing to convey coherence are substituted with pivotal concepts.  These visual symbols resemble sentences formed by merging words along the horizontal axis, facilitated by their meaningful arrangement along spiral connections. The interplay between these dispersed motifs across the overall composition contributes to the establishment of overt and implied narrative meaning. It is crucial to focus on the cultural context as the shared origin of representation and content. Recognizing its significance within the design context is connected to the selection of content and its alignment with representation. In fact, neglecting this importance in the research context of Iranian traditional design art in general and the art of carpet design, in particular, is one of the issues that requires research. Focusing on the semantic dimension of motifs elevates them from mere decorative forms to forms that generate narratives and meanings.The "Bashariat" carpet, designed by Issa Bahadri, offers an opportunity to investigate the realization of the aforementioned attributes. The Khataei and Slimi motifs designed in its context deal with the hidden depiction of human figures, which in meaningful interaction, narrate the story of the origin and continuation of the human race. In other words, the "Bashariat" carpet within the context of a general image system is the convergence point for two distinct histories – one mythological and the other religious – visually intertwined at the core of its backdrop motifs. To comprehensively analyze this aspect, employing a methodology aligned with narrative analysis subjects, such as Roland Barthes' narrative codes, proves essential. According to these connections, the narrative doesn't have a preset meaning; instead, it has a interconnected structure made up of five codes.  Understanding these codes is imperative for grasping Barthes' delineation of the narrative's author and reader roles. Although the words for writing are available to all authors in the same way, in his opinion, what makes them stand out is the way these words are employed in the narration. When a writer writes with passion at the helm, they produce significant texts, and their readers transform into writer-readers who revise the texts on the precipice of reading and writing as they read. The significance is further exemplified by the carpet designer of "Bashariat," who, despite drawing inspiration from customary patterns, sought innovative and meaningful representationHermeneutic and action codes, which have a horizontal relationship in the syntagmatic axis, are seen to be the causes of the development of the story. The story is created by merging the other three codes, which likewise point the reader to associated semantic bases outside of the text and have vertical relations in the paradigmatic axis. An important point in this field is the lack of researches that have studied the traditional design from the perspective of narrative codes. The current study adopts a descriptive-analytical methodology to address the question: "What are the meaningful interpretations of motifs within the narrative of the 'Bashariat' carpet based on Barthes' narrative codes?"  In this sense, just the text portion was examined, based on the significance of the topic of mankind and the creation story from the standpoint of narrative ciphers. This significance highlighted the need for human themes in the visual interpretation of this tale, and its lack in the carpet's margin precluded the study of the margin from considering the research process. The findings of this study demonstrate that, in addition to serving their primary purpose of adorning and beautifying the carpet's surface, the visual elements created for the carpet of Bashariat also took into account the two elements of narration and meaning generation, which are divided into five codes as follows:-The hermeneutic coder investigates the Khatai motifs of Toranj and Slimi of Lakh from the perspective of the concepts contained in human motifs and the meaningful relationships coming from the arrangement of motifs of men, women, and children. This is done by challenging the text's unity. The solution to it pierces the second theme region, which has its roots in a mythical account of how early humans first came into contact with plants. According to mythology, Mesh, and Mishyaneh, the first human parents, were born from Gyumerth's discarded sperm and enhanced Urmuzd's excellent creation by bearing offspring. The human figures tucked away in the center of Taranj's khatai patterns, whose unity symbolizes the continuance of the human race, can be considered as the visual representation of this idea. However, in accordance with Islamic doctrine, the first birth's beginning point is related to descent. The human body created in Lakh in an abandoned state is an example of the fall, and its decline has been the cornerstone of Bashariat that marked the beginning of the human race in Toranj. - In accordance with the text's fundamental meaning, the man, female, and rooster characters' sequential acts provide the context for the action symbols. The word Bashariat is written in the Toranj region by two men, holding the word firmly in their hands to act as a guardian. Next is the representation of a woman's living head, corresponding to the mythical ideas about women's bodies being healthy and ensuring reproduction. A body covered in flowers and the pattern of two blossoming flowers in a woman's maternal body are manifestations of this health. When it comes to ensuring that the generation continues, these traits complement the active action of the woman and the protective action of the male. In the setting, the rooster's ultimate stance, in which it is flying toward the infant, serves as a protective function, and it symbolizes the rooster's mythical and religious significance.- The upward reading of Toranj's design, ascending from bottom to top, considers Islamic discourses that prioritize male origin in the creation of humankind. The positioning of the male figure as Adam at the bottom of the female body symbolizes this hierarchy. The dynamic interplay of stillness and movement between the male's horizontal posture and the female's vertical placement signifies complementarity. The spiral arcs on the carpet's background, rising from under Adam's hand, convey both humanity's perfection post-fall and additional connotations.- The child's form, arising from the convergence of male and female forces, bears symbolic meaning. Resembling his father in posture, hair color, and appearance, he embodies Zoroastrian principles. Although there is no difference between having a boy or a girl, documented records indicate that boys are preferred over girls. A single body is another sign with a two-way reference to descent in the elastic portion. According to the theories of ancient Iran, he is evocative of Gyumerth because, as a human prototype, he creates a common appearance among people without gender distinctions. He has a fluid condition and is devoid of gender signals. The second case could represent Meshi and Meshianeh, who split off after succumbing to Satan's temptation and were created from Gyumerth's pure sperm in the shape of a rhubarb plant. In contrast to this design element, the background of the carpet has snail and rooster motifs, which symbolize male and female genders.-The dual notions of ancient Iran and the Islamic faith in the carpet of "Bashariat" are realized as cultural symbols that have an impact on all symbols. As a result, human themes have evolved into pairs in mythical and religious narratives, such as "Mashi and Mashianeh" and "Adam and Eve," or they have taken on symbolic dual meanings, like snail and rooster motifs. However, the focus on the idea of couplehood that has been achieved in the general design of the carpet with the 1/2 pattern is crucial to the consensus of these ideas. As a result, while depicting male and female couples and the idea of their complementarity in producing a pair of occurrences in one half of the carpet, it also deals with their multiplication in the second half, which highlights multiple marriages.

As a principle in the communication system between visual elements and the visual perception of the audience, the effective law of proximity of Prägnanz creates a two-way communication that facilitates the process of perception. Prägnanz principles form the central core of the Gestalt theory of visual perception, some of which were first proposed in 1910 by Max Wertheimer, a Czech psychologist. The principle of proximity, among the principles and laws of Gestalt visual perception, is an effective factor in the quality of design, which causes correlation, continuity, balance, rhythm, proportion, and unity and cohesion of visual elements. One of the copies that can be considered in the field of Gestaltology is the title of the Qajar era gilded Gur'an from the central library of Tabriz. In this research, while introducing the law of proximity of Prägnanz and the above mentioned gilded Gur'an, the effective factors in the formation of a balanced and coherent work based on this principle are studied.

How the role and presence of the law of proximity in the desired work and its function in the process of visual perception of the elements of the title, as well as how it is related to other principles raised in this process, are the basic questions of this research. This research, the data of which was collected through library sources, was carried out in a descriptive-analytical method.

The presence of this law and its impact on the process of visual perception in the mentioned title is 96 percent, which includes four recognizable types with the following frequencies: 30 percent of the type of proximity to the edges, 24 percent of the contact type, 28 percent of overlapping type, 15 percent of combined type. These four principles are well organized in many positions of the headboard, including the section of the sharfas, table drawing, decorations, verses of the Quran, inscriptions and frames.

The result of this investigation showed: Despite the high density of decorations in the target work of this research and their organization based on one of the two modes of style and prominence in the motifs, the principle of proximity causes the process of visual perception to happen and annoyance. And don't let the audience get tired. This article confirms Wertheimer's interpretation of Prägnanz law that psychological organization is good as a result of the simplicity and clarity of perception, which is related to the Gestalt principles presented in this research and under it is the set of proximity principle and its types. A strong Prägnanz is present under the conditions prevailing in the mentioned title. The proximity of visual elements in contact with each other and the combination of various visual motifs and colors next to each other have created the most coherent overlap in the structure of the mentioned work, which creates a calm and clear visual communication during the process of perception.

The process of visual perception has systematic principles that can be useful in recognizing works of art. Accordingly, Gestalt laws play an essential role in assisting the human mind in analyzing the illustrative effects of children's books. In the field of graphic works and illustrations of children's books, using the principles of visual perception and Gestalt psychology, new, important and significant data can be obtained. The purpose of this study is to discover and identify properly and accurately the nuances and characteristics of children's book illustrations. A seemingly simple picture, depending on the page of the children's book, has a wide variety of structural features that can be used to properly understand the nature of the criteria in the field of visual perception. The basis of the present study is the "image" element. The presence of the image in human life from the distant past can always be traced. Contemporary man has established far more complex relationships with the image. The image narrates cultural, social, insightful, etc. variables, which are directly related to human "consciousness" and "perception". Just as human beings have undeniable reasons for communicating with each other, so seeing and confronting an image requires understanding, revealing, and comprehending it, both superficially and deeply. Visual language is the only common language of all human beings. Since the syntactic structure of this language goes back to the ability to perceive images, therefore, recognizing these abilities is essential for the artist who intends to convey his message in the form of an image to the audience. He must be able to organize his visual cues in such a way as to be received by the audience in the best possible way. Illustration, without a doubt, has always been indebted to the art of painting and the history spent on it. Although illustration should be considered as a link between painting and graphics on the one hand and children's literature on the other, but the main elements used in illustration and its visual representation are first the effects of painting and the basic elements of visual perception. Visual perception in art can be recounted with a theory in psychology called the Gestalt theory. The principles and rules proposed by researchers in this field can be used in visual analysis of visual arts. In fact, despite such capabilities, the need to use these achievements in the new analysis, analysis and shaping of the works of children illustrating children's books can be justified. The purpose of the present study is to study the compliance of the visual principles and rules of the psychology of emotion and perception, the illustrations of the veteran artists of the forties of Iran and the visual analysis of the illustrations of these artists by modeling the theory of visual perception. In this study, two artists among the illustrators of children's books of the forties in Iran, according to their level of activity and use of Gestalt principles and laws, in an improbable situation type, and also among their works, a work by sampling method. Purposefully selected and analyzed. The present study has been done in order to answer two basic questions: 1- What principles of visual perception have been used by the leading illustrators of children's books in the forties in Iran in their works? 2. How can the works of the illustrators of Iranian children's books of the forties be analyzed with the principles and laws of Gestalt? The research method was descriptive-analytical and the method of collecting information was library and documentary. Book illustration in Iran dates back to centuries ago, but the new illustration of children's books in this land is about seventy years old, which is mostly related to the emergence and development of education in a new style and the expansion of schools. During this period, illustration for children not only became especially important, but also became a necessity for the books of this group of society and went so far that from 1340 AH (1960s) onwards, illustration of books for children and adolescents as a specialized branch It was defined and categorized in Iran. In addition, the activities of the Children and Adolescents Intellectual Development Center, Franklin Publications, and several private sector publishers have had a significant impact on this. During this period, the efforts of children's book illustrators were so extensive and successful that they can be found in other similar fields of art. The establishment of the first exhibition of children's book illustrators in 1989 showed that many children's book illustrators with different minds and perspectives are taking steps to spread this art. Among the illustrators of the forties, we can name Farshid Mesghali, Parviz Kalantari, Noureddine Zarrinkelk, Gholam Ali Maktabi and Morteza Momayez. In this research, an attempt is made to study the works of two artists among the illustrators of Iran in the 1340s AH (1960s) with a theory in psychology called Gestalt Theory. In this study, a work from the book of Crows and a work from the book of Little black fish were selected and analyzed based on the sampling method mentioned. Zarrinkelk was one of the first to illustrate children's books as well as education textbooks for children and adolescents. Zarrinkelk began his first serious and professional illustration endeavors at the Franklin Institute. His Crow in 1970 was awarded the UNESCO (Tokyo) Book of the Year Award and in 1971 the Golden Apple of Bratislava (Czechoslovakia). Zarrinkelk is a different artist because of his story writing for children and his tendency to write text and illustrate for non-fiction books. Crows was the first book he illustrated. The story of the crows is a symbolic and metaphorical story, Because in mystical and metaphorical tales. the protagonists of the story, whether they are animals, plants or inanimate objects, each of them, is undoubtedly a symbol of a particular stratum or group of human society; Therefore, in order to understand the meaning of the author, one must first understand those human instances that the author wants and replace the protagonists in the mind. Farshid Mesghali illustrated more than 15 children's books in the 1340s and 1350s (1960s to 1970s) and received numerous awards, including The Little Black Fish, which won the Bratislava and Bologna Exhibition Awards. The story is hero-centered. The protagonist and protagonist is the little black fish, a hard-working, thoughtful, intelligent, and unyielding hero who stands in front of all his opponents on a belief he rightly believes. Findings indicate that the laws of form and context, similarity, proximity, context, common destiny and symmetry have had the most presence in the works of these artists and artists of these principles in creating a high Pregnancy and the highest level of influence and realization of strong perception. They are used in proportion to the subject of the work in the mind of the audience. The laws of good extension and continuity, due to the presence of less or less compared to other principles, create a low level of frequency in the process of visual perception of the case studies of this research. In general, it can be said that the main reason for the effectiveness and durability of these works has been the high level of utilization of these capabilities by their creators in their works.

Statement of the problem: 

The Saqaqhana school is one of the most important artistic movements of the 1940s in Iran, which was formed with a traditionalist and at the same time innovative approach and was inspired by the global art method and the artists attributed to this movement are respected. Incorporating old visual elements, they created works that looked for differences in their art. The mentioned art can be studied from the field of culture, identity, art, etc., with structural, semiotic, psychological, etc. approaches. Many artists are active in this field, one of them is Nasser Owaisi, who can be considered as one of the prominent artists of this school.

Importance and necessity of conducting research:

 The present article aims to introduce and examine the visual characteristics and symbolic aspects of decorative motifs in selected works of the Saqaqhana school of painting by Nasser Owais, which is analyzed with the tools of structuralism and semiotics based on Peirce's point of view. They are explained.

Objectives of the article: 

The objective of this article is to analyze the symbolic aspects of decorative motifs in the works of Nasser Owaisi from Peirce's point of view.

Research question: 

Therefore, this article seeks to answer two basic questions: What are the visual characteristics of Naser Owaisi's Saqakhane paintings and what are the meanings of the decorative motifs? What is the performance of the semiotic approach in the selected works of Nasser Owaisi?

This research has been researched with a descriptive-analytical method. This article is a qualitative research and study samples are collected from library sources.

The results of this paper indicate that motifs are classified into six categories: abstract, human, animal, plant, and geometric motifs. written The painter has used motifs such as chamomile flowers, pomegranates, horses, women, shapes (squares, circles, triangles and rhombuses) and improvisational lines, objects such as three strings in his works, which are associated with concepts such as power , tolerance, pleasure, fertility, creation and freedom are related. Balance, equilibrium, movement are among the visual characteristics of these works. The signs of the decorative motifs of the above-mentioned artist's works are mostly symbolic and indexical and are considered figurative-abstract and abstract-similatory signs.

Semantics refers to searching for a final signified behind a text or exploring a semantic layer in each text in a process-oriented (rather than a product-oriented) framework. From a process-oriented point of view, a text is not limited to some deterministic meaning(s); instead, it involves a situation in which a reader can, during the reading, contribute to the production of meaning(s). Thus, in a process-oriented approach to the text, the reader is, on one hand, regarded as the subject of meaning, and the text is, on the other hand, as the context for the meaning only if there is a processed narrative. For this, a text is based on a narrative, which involves functional units governing systematic narrative functions of signs.Throughout history, various definitions were introduced about narratives, the most important of which relates to twentieth-century structuralists and Roland Barthes in particular.To Barthes, the narrative is characterized by exchange, i.e., narrative as the subject is the basis of communication; thus, a receiver and a sender are required. As a result, a narrative cannot exist without a narrator or a hearer. Although the narrator’s motives or narrative effects on the reader are not the main issues, an explanation of codes that give meaning to the narrative is the main object of a literary theory on narrative. For this, Barthes argues that narrative is a narrative code such as language which is recognized through a system of signs (semiotics). The system of signs first comes together at the level of functions and actions to finally establish a meaningful semantic communication at the narrative level between the narrator and the reader.The identification of the textual system of signs and foundations of the narrative was mainly performed by structuralist theorists in the second half of the twentieth century. Among the structuralists, Roland Barthes’ narrative codes theory was used as the basis for the semantics of Hannibal Alkhas’ work “Tablet” due to its comprehensive attitude to narratives compared to other structuralists’ semiotic theories.Hannibal Alkhas (1930-2010) was a modernist Iranian painter and the pioneer of figurative design in modernist painting. He has numerous works, and his work of art, “Tablet,” has been selected to be investigated for highlighting his distinctive and personal language compared to other modernist artists and characterizing his artistic features. Tablet is a two-part work of art involving symbolic motifs, attention to mythological motifs, and cultural elements, resulting from particular attention to formal elements, especially the element of “shape.” The goal of the present study is to gain the visual form of the work “Tablet” and realize possible meaning(s) of the text under investigation through Roland Barthes’ narrative codes theory. Narrative codes include five codes of hermeneutic, connotative, symbolic, proairetic, and cultural, which Barthes found while analyzing the story “Sarrasine” by Honoré de Balzac in 1970.Narrative codes refer to measures for our narrative. In other words, a narrative is realized through the narrative codes approach (based on a signifier and signified system), resulting in a process-oriented re-writing of the text under investigation. Therefore, it is critical to define Barthes’ five narrative codes, which include hermeneutic, connotative, symbolic, proairetic, and cultural. However, before defining them, it is essential to say that by codes, “it is meant a system of signs that generates a certain meaning and includes a set of signs and rules that govern their combination.”

Hermeneutic Codes: 

They refer to the codes formed out of differentiating different expressions that form a code to become axial, organized, and finally revealed. These codes seek to express and explain what it means to be a text in totality; thus, such codes are interpretive, and in other words, meanings arising from these codes result from interpreting texts. For example, the letter Z in the name Zambinella has a mirror relationship with the letter S in the name Sarrasine, with the two letters being graphically reversed. A relationship of this kind does exist not only in the apparent form of the two words but also in the direct reference of the two story characters, with Sarrasine’s behavior mirroring Zambinella’s moral attitudes. Here, Barthes classifies this relationship within the hermeneutic code.

Connotative (semantic) Codes:

 These codes include all the connotations that express the implicit forms of actions. This category of codes refers to distant textual meanings. For example, in a part of de Balzac’s story, “Sarrasine portrays the image of a holy father at school, instead of learning the primary element of the Greek language.” For Barthes, this image of the text connotes the meaning that Sarrasine is interested in drawing.

Symbolic Codes: 

These codes link special creatures and events to abstract and general concepts because “there is also the tendency that a symbol is no more than the private realm of imagination.” For this, a form or an event represents a general or expanded meaning in the realm of imagination.

Proairetic Codes: 

Proairetic codes include various actions integrated into the form of sequences together. The summarized form of these codes is explicit and clear significations expressed by a text in its simplest terms and readers can generally perceive it. In the meantime, these codes are the most stable meanings unless society’s perspective changes proportionate to the culture in which it arises; for example, the color red is, from an Islamic point of view, a symbolic expression of martyrdom, while this color is usually a symbolic indication of labor revolutions in western social systems.

Cultural Codes: 

Cultural codes suggest that the meaning arising from the text under investigation depends on understanding a reference to which the text has referred because “Cultural codes refer to a set of cultural significations”. In sum, this class of codes involves various codes of knowledge or philosophy to which the text continuously refers, i.e. they are references of philosophy and wisdom whose identification depends on determining a kind of body of knowledge”.In parallel with other Barthes’ views on the text, this theory views painting like a text because the quality of each narrative code as a basis for processing the meaning of the text is not limited to literature; instead, each work that its symbolic nature is perceivable, imaginable, and believable is a text. In sum, this paper aims to study a visual domain from a linguistic perspective. Therefore, the study answers two following questions: 1) What is the formal equivalence of Roland Barthes’ narrative codes in the text under investigation? 2) What are the meaning(s) of the visual forms of Roland Barthes’ narrative codes in “The Tablet”?Therefore, using library sources and Roland Barthes’ narrative codes, the present study aims to use analytical, reasoning, and inferential methods to investigate the semantics of Hannibal Alkhas’ “The Tablet”. To do this, the totality of the text is first analyzed to extract the functional units of its narrative. The identification of functional units of a narrative is decoupage (Lexie). For Barthes, lexie refers to differentiating text signification layers into readable units. Then, proportionate to the quality of each of the narrative codes (hermeneutic, connotative, symbolic, proairetic, and cultural), the formal-visual equivalence of the artwork “The Tablet” was inferentially determined to finally extract a meaning based on the processed form of the text and to direct the reader to understand the semantic themes. Semantic themes were determined within the equivalence process of formal states of narrative codes. For this, the formal-visual equivalence of hermeneutic codes, i.e. texture; the formal-visual equivalence of connotative codes, i.e. level; the formal-visual equivalence of symbolic codes, i.e. point; the formal-visual equivalence of proairetic codes, i.e. lines; and the formal- visual equivalence of cultural codes, i.e. shapes were determined to answer the second research question. As a result, hermeneutic codes represented the meanings of cohesion, order, and unity; connotative codes represented the meanings of connection, linking, marriage and fertility, plurality in unity, and life expectancy; symbolic codes represented the meanings of perfection and purification; proairetic codes represented the meanings of fertility and promotion of Christian teachings, perfection and sanctity, and cultural codes represented the meanings of attention to religious affairs, fertility, marriage, and prophethood of Jesus.

Peacock motifs with various visual features have appeared in the exterior of some religious and non-religious monuments of Isfahan in various or repetitive patterns. The appearance of these icons with various mythological implications, ancient meanings, and Islamic beliefs in the context of a few hundred years reveal the skills of Iranian artists and architects. This study first examines the background of the peacock and its positive and negative position in the art and literature of ancient Iran and, then, the Islamic period. afterwards, for the first time it studies the characteristics and visual structures of peacock motifs used in the exterior of Isfahan monuments, In this study, field study and library study have been undertaken, and descriptive-analytical method has been deployed. A total of eighteen peacock-motif specimens were selected, from the oldest surviving specimen (Jorjir Mosque belonging to Dailami era) to the contemporary period which mainly belong to the Safavid, Qajar, and Pahlavi eras. The present study intends to evaluate the morphology, the execution method, the color, and the framing of peacock motifs along with an evolution of its use in the facade of the building. Based on the studies performed and analysis done on the visual structure of the peacock motifs in the exterior of Isfahan monuments, it has been found out that certain shapes and color features in peacock motifs have varied or repeated over centuries, mainly from Safavid to Pahlavi eras. Different forms of peacocks have often been a combination of iconic and abstract methods. Most peacocks are paired, and in a small number of specimens they are just one with an open fan-like tail. In all of these peacock motifs, the designing is two-dimensional and profiled. Peacock motifs are mostly presented in the form of triangles (body, wings and tail of paired peacocks) and circles (fan-like trailheads and feathers of individual peacocks) which are framed in geometric shapes, round arces, and pointed arches. The most commonly used colors are green, azure, turquoise, green, and ochre imitating somewhat the natural colors of the peacock. Also, in some samples from Qajar and Pahlavi, new colors such as pink and red have been used in tiles. The colors in the background of these tiles are mainly seven colors-mosaics and the technique of execution and sometimes the technique of patterns are discreet and simple in non-religious buildings (residential and shops) and magnificent and outstanding in religious buildings.

Glassmaking, as one of the valuable arts of Iran and Egypt, dates back to several thousand years ago. It entered into a new stage during the Islamic period with a rich historical and artistic background, so that the 3rd-7th centuries AH are considered as one of the most important eras of glassmaking in the Islamic period of Iran and Egypt. Iranian glassmaking in the Islamic period evolved while preserving and continuing the techniques of glass making and decorating of the previous era. Meanwhile, Egypt has been one of the main centers of glassmaking, and the ancient Egyptians were among the most prominent and skilled glassmakers in the world, but the peak of this art and craft took place in Egypt during the Islamic centuries. Despite the rich history of Iranian and Egyptian glass art, studies in this field have received less attention. Therefore, the present study is a comparative study of the sample glass chandeliers from the Islamic period of Iran and Egypt.Egypt is one of the countries in constant interaction with Iran; both of which have influenced each other in various fields. These interactions and influences in different historical periods have increased or decreased according to the governing conditions. The vital role of the Silk Road and the road’s ending at the shores of the Mediterranean Sea as well as Egypt, the transfer of artworks, and the migration of artists, caused an extensive relation in various economic, cultural and artistic fields between two countries from the beginning of Islam until the 6th-7th centuries AH.Also, the role of Bandar-e Siraf and the trade of glassware through the Red Sea between Iran and Egypt cannot be overlooked. Iran and Egypt, as the pioneers in the art of glassmaking, have made a great contribution to its advancement in the Islamic period.The purpose of this research is recognizing part of the glassworks of these countries and achieving their similarities and contrasts by focusing on the elements that have built up the form and overall structure of the components, patterns and ornaments under the title of morphology which is a science in the field of literary studies; currently used in other fields including art studies. The Russian researcher and anthropologist, Vladimir Propp first coined the term morphology. Morphology literally means studying and recognizing shapes and faces. That is the study of the components of an object and their relationship to each other and to the whole structure of that object. Morphology does not only mean determining the form and shape of works, but it also generalizes to recognizing and classifying works, determining the fixed and variable elements of each work, and in a broader dimension, extracting the morphological pattern, and the scientific comparative study of works by reviewing components of each effect.The present study seeks to answer these questions: 1) What are the visual features of Iranian and Egyptian glass chandeliers in terms of morphology, 2) What are the differences and similarities in the shape of the glass chandeliers of Iran and Egypt in the 3rd-7th centuries AH?This research is developmental in terms of purpose, retrospective in terms of time, and descriptive-analytical in terms of nature and method. Data and information were collected through authentic library sources. The population includes 12 samples of Iranian glass chandeliers and 9 samples of Egyptian glass chandeliers during the 3rd-7th centuries AH.The results indicate that despite the similarities in the shape of glass chandeliers, differences in their components, including fixed elements of the body, neck, base and pendant, and variable elements of ornaments and patterns, differentiated Iranian and Egyptian glass chandeliers from each other. Body, neck, pendant ring and base are considered as the fixed components, and various decorations and designs on glass chandeliers are among the changing elements of these works.  The body shape of Iranian and Egyptian glass chandeliers is parabolic and vase-like, but differences exist in these forms.The neck of Egyptian chandeliers is taller and wider than the neck shape of Iranian glass chandeliers, with a wide mouth made by a glass artist, which, like the body, has been a suitable background for presenting decorations and designs. A flat base was observed in the glass chandeliers of both countries, while a long base was observed in the glass chandeliers of Egypt. Despite the similarity of the shape of the glass rings -to pass the chains and hang the chandelier from the ceiling- there are differences in the glass chandeliers of Iran and Egypt, including the ring-like shape of this component in Iranian chandeliers and the handle-like form in Egyptian chandeliers. Also, some methods of decorating glassworks by glass artists have been used in only one of these countries. Drawn upon the study, the Egyptian glass artists, unlike the Iranian ones, were attracted to the use of pure abstract and iconic-abstract decorations.

Flag is a distinctive and distinguishing element among human civilizations and cultures, which can be considered as a symbol of the alliance of a civilization bearing a particular ideology during each era and being the source of the intellectual foundations of the earlier ages. The formation of the Safavid era in the tenth century AD, brought about political, cultural, and religious solidarity for Iran, so that the consolidation of Shiite-Islamic thought is visible in the works of this period, especially in manuscripts. One of the most outstanding Iranian manuscripts is Shahnameh of Shah Tahmasb which was portrayed in that era. The written elements on the flags in the combat scenes of the book clearly explain the religious contents of the period, which benefited greatly from the art of calligraphy. Identifying the flags and the concepts used in their illustrations, the present research explains the visual and expressive aspects of the flags involving written texts in Shahnameh of Shah Tahmasb. Therefore, this study has three main questions: 1. what are the most important visual components of the flags in the Shahnameh? 2. The writing elements of the flags of Shahnameh of Shah Tahmasb involve what literature, content, and content? 3. What are the intellectual foundations of the illustrated flags of Shahnameh? This research has been done through a survey-analytical method. The type of technique used is a documentary and library technique through which the statistical samples of manuscripts have been studied. Research is based on first hand resources and authentic researches. The results of the research indicate that the flags have been written by characters such as Naskh, Thallith, Nastaliq and colored by colors such as Azure, Gold, Sangrf, and decorated by Khatay and Slymi figures. The writing elements of the flags are in line with the beliefs, cognitions and intellectual foundations of the Safavid era as well as the Iranian originality and reflect the artist's dedication to the religion of Islam and the preservation of Iranian culture

Saqakhaneh School of Painting was an art movement that was formed in the 1340s using elements of modern art and some traditional-religious and ancient elements in Iran. Saqakhaneh painters were trying to give their works an ethnic-Iranian identity. Artists attributed to this movement, while honoring ancient pictorial elements, created works that sought to differentiate their art. Using ancient art, they established a link between modern art and traditional art. What can be seen more in the study of Saqakhaneh's works are visual-symbolic elements that arise from deep themes and intellectual foundations. In the science of semiotics, the types of signs and the rules and principles of thought are studied. Also in this science, the codes of visual and written semiotics in Sadegh Tabrizi's works are explained by considering the alignment of his works with the objectives of this research. Therefore, this research tries to introduce and identify the works of this artist, to examine the characteristics of visual elements in his paintings, and also to explain the structure and themes of these visual elements with a semiotic approach. Therefore, two basic questions are raised in this research: What visual elements do the visual elements in Sadegh Tabrizi's works have? What kind of sign structure do these elements have, in other words, how does the semiotic approach work in the selected works? This research is descriptive-analytical with qualitative method and also the collection of information has been done in the form of library and internet. The result of the research showed; In Sadegh Tabrizi's works, visual signs are classified into six categories. In general, visual elements are more indexical and symbolic. The largest volume of pictorial elements is of the symbolic-iconic type and is composed of figurative and simplistic abstract signs and is the least naturalistic sign. In the study samples, the commonalities between the visual signs as well as the semiotic divisions of the concepts have been observed a lot. Written motifs have a special place in Tabrizi's works, which are combined with religious and spiritual themes and the Iranian third line. These motifs have been observed in all works. Plant motifs are more symbolic and human and animal motifs are more iconic.

Mansour Qandriz is one of the most talented contemporary painters in Iran whose name is usually associated with the Saqakhaneh School; however, many of his figurative works, which have been created using the world of myths and ancient traditions of Iranian illustration and have primitive and mysterious character, have been excluded from the scope of research. In his paintings, this artist has used the aesthetic values of the Iranian visual tradition to identify and create meaning, as well as the theme of the horse, which has been common in Iranian art since ancient times, in a repetitive and meaningful way. The following research, by selecting a work by this artist, which is dominated by a mythical and mysterious atmosphere and also shows two horses in it, while one of them has two horns on its head, try to explore the mechanism of meaning creation and how the theme of the horse participates in the process of creating meaning. According to the authors, there is no similar example of a horse with two horns and it is the invention of Qandriz himself, which can be seen in his other artworks. Despite many searches, so far no research has been found that has independently analyzed the meaning of Qandriz’s artworks. The only example is an article titled “Intertextual reading of Mansour Qandriz’s figurative artworks” (2019) by Taranom Taqavi and Mahboubeh Pahlavan, in which some of his paintings were read by a group of audiences; In line with the confirmation of what Roland Barthes said, there is a possibility of creating meaning for each text based on the number of the audience and based on their mental pre-texts. Other articles, all of which have been conducted around the Saqakhaneh School, have sometimes dealt with Mansour Qandriz in a very brief manner. Considering the existence of a kind of discourse and the sense of the presence of action and tension in the artwork selected by this research, the method of Discourse Semantics has been chosen for analysis to understand the unique and independent meaning of this image. Discursive sign-semantics is the fruit of structural semiotics and narrative system of semantic studies. This view links the flow of meaning production and sensory conditions and considers a kind of ontology for linguistic production. Discursive sign-semantics signifies an event variant of the presence of sign-meanings and investigates the function, production, and reception of meaning in discursive systems. Sign-semantics of discourse is sketched in the form of processes and different emotional, cognitive, sensory-perceptual, esthetics dimensions. All of these variants share the flexibility and fluidity of sign-meaning and are revealed under the supervision and control of the discourse process. In this process, signs, along with meanings, are turned into fluid, dynamic, plural, multi-dimensional and full of tension variants. Sign-semantics patterns can act as an efficient method for analyzing literary texts and predisposing them to new readings. The main goal of the research is to reveal the meaning of the painting and its secondary goal is to understand the function and meaning related to the role of the horses in it. The choice of discourse semantic method enables this research to cross the semantic square and reveal the final meaning of the effect and function of the horses in it by analyzing the stress square. The research findings indicate that it is the result of action and interaction between the elements and factors of discourse in the image is perfection and excellence, and the horse plays the accompanying role and auxiliary factor of mankind. In this work, the horned horse is estimated to be a conservationist and dependent on femininity. The choice of mentioned method enabled this research to reveal the atmosphere, discourse coloring and image location as well as discourse factors. The atmosphere is formed by the collision of two elements, dark and light, man and woman. While at first glance the image appears in captivity and a circle of darkness, the discourse coloring and subsequent stages of analysis reveal that there is light on the dark side as well as vice versa. The primitive state of the horse’s face with the woman, the entanglement of the body of the two, and the calmness and ignorance of the woman, have given a protective role to the horse with her. The discourse factors in this image are: the active man, the passive woman, the horse on the right as the female helper, the horse on the left as the male helper, and the small white ball in the horned horse’s hand as the man’s desirable value object. Since semantic squares provide a limited and closed reading for this image, it is necessary to skip the semantic square and deal with the tension square. Perfection and excellence is the result of action and interaction between the elements and factors of discourse in the image. Although elements such as darkness, stillness, passivity, and femininity appear to be opposed to light, motion, activity, and masculinity, meaning is formed by the movement between these concepts and the action between them; otherwise, the meaning will be rigid and one-sided.

One of the related techniques and ornaments of architecture is the usage of stucco and stucco ornaments, which have had unique features in each historical period before and after Islam. The art of stucco is a technique that could rely on decorations including abstract, geometric and calligraphic designs to leave various masterpieces in various arts, including architecture. In the Ilkhanid period, we see beautifully applied stucco ornaments that were ordered by governors and rulers. One of these buildings is the mausoleum of Sultan Mohammad Khodabandeh (Oljaito) in Soltaniyeh, Zanjan, which due to the importance of that building at that time, various and unique ornaments with different techniques and methods have been implemented in it. The ornaments used in the Soltaniyeh mausoleum include stucco ornaments, Mogharnas work, tile work, inlay work, paintings and inscriptions, and various ornaments. Construction of this monument began at 704 AH and ended after 10 years in 713 AH. Another building is Rokniyeh School in Yazd, which was built in 725 AH. Sayyed Rokn al-Din Mohammad, a judge in Yazd, was a longtime friend of Khajeh Rashid al-Din Fazlullah and the founder of the school. He left many endowed buildings, which are described in the “Jame al-Khayrat” book. The prosperity of Rokniyeh School faded away over time, and since Rokn al-Din himself is buried under the main dome of the school after his death, this building is used as a mausoleum. Shamsieh School in Yazd is the third selected building. Sayyed Shams al-Din was the son of Sayyed Rokn al-Din, who was married to one of the daughters of Khawaja Rashid al-Din Fazlullah. After his father was imprisoned, Sayyed Shams al-Din went to Tabriz and complained to Abu Sa'id. He died in Tabriz in 732 AH and his body was sent to Yazd to be buried under the dome of the Shamsieh School that he had built. This mausoleum is one of the architectural masterpieces of Yazd that Sayyed Sham al-Din designed in Tabriz and sent its plans and designs to Yazd. The reason for choosing these two buildings in Yazd is that these buildings were designed by the artists of the Ilkhanid court, and also the time interval between the construction of these two buildings and the Soltaniyeh mausoleum, which was the most important building of the Ilkhanid period and the capital at that time, is insignificant. Therefore, the stucco ornaments of the Soltaniyeh monument of the Ilkhanid period in Zanjan, as well as the two monuments of the mausoleum of Sayyed Rokan al-Din and the tomb of Sayyed Shams al-Din of the Al-Muzaffar period in Yazd, are exemplary and exquisite historical examples of the use of stucco ornaments in architecture. Furthermore, allowing this art to remain unknown and failing to study it, will cause it to be forgotten and destroyed over time. The objectives of the present study are to identify, analyze and structurally adapt the visual elements used in stucco ornaments and the influencing factors in these buildings, and to study their influence from each other in order to recognize them both to recreate the patterns as well as to recognize the differences in style. In terms of the design and execution of stucco ornaments; since the lack of sufficient knowledge of the interactions of the Ilkhanid era buildings has caused a gap in the classification of stucco ornaments of the Ilkhanid period, the present study will help to fill the gap in the typology of stucco ornaments of this period and to reveal the points covered by Ilkhanid art. This research is organized around three main questions: 1- What are the visual elements of the stucco ornaments in Soltaniyeh mausoleum and the two mausoleums of Sayyed Roknaddin Mohammad and Sayyed Shamsaddin and what are their characteristics? 2. What are the commonalities and differences in the three buildings? 3- What are the possible interaction effects in these three buildings? The research method is descriptive-analytical and "comparative-relative", and the method of collecting information is fieldwork and library studies. The results of the studies showed that the visual elements of the stucco ornaments of the mentioned buildings are classified into three categories: plant motifs, geometric motifs and calligraphy. Characteristics of visual elements of stucco ornaments of the two Muzaffarid buildings in Yazd are affected by the Soltaniyeh mausoleum, and the variety of stucco inscriptions of Soltaniyeh mausoleum is more than two selected buildings in Yazd. Furthermore, in all three buildings, Islamic motifs, geometric knots, Thuluth and Kufic scripts have been observed.

This study, while studying the process of visual perception and familiarity with Pergnans' laws, introduces and explains the main features of the Qajar Quranic religious version preserved in the archives of Tabriz Central Library under registration number 3089 with a psychological approach. This study examines four Pergnans (the law of symmetry, similarity, continuity and context) according to the nine Pregnancy laws. Investigating the visual relationship and effectiveness of Gestalt in the mind of the audience and also achieving a scientific and reasonable visual structure with an approach to Gestalt theory and the extent to which the rules of visual perception are used in this version are other objectives of the present study.

The present study is applied in terms of purpose and descriptive in terms of study approach, which has been done using scientometric indicators. Descriptive-analytical research method and methods of reviewing texts, sources and pictorial documents in the context of library studies, as well as case study method and observational research method in the field of field studies have been used. After extracting the relevant indicators, the method of gilding analysis process is described based on the output of data and information obtained from the results of the law of visual perception and Pergnans' laws. After reviewing the criteria, the recognition of the importance of Gestalt visual values ​​was assessed by collecting field information in a survey manner at the level of Quranic gilding, to examine the variables and metrics on site. This research was conducted by a qualitative method with the approach of Gestalt theory of psychology.

According to the studies, it was found that 91 percent of the law of similarity, 93 percent of the law of symmetry, 58 percent of the law of continuity, and 68 percent of the law of bedding have been observed. In fact, it can be said that there is a strong two-way communication between the eyes and the brain and everything that is felt and understood.

The result of the research showed the mind, understanding and comprehension of human beings from the environment is not a paper in which whatever it is can be embodied and imagined and drawn in it, but a kind of awareness, consciousness, foresight and tact in what (information Primary imported from the eye) observes, there. Man recognizes the tangible reality that science deals with through sensory and visual perception. What can be seen in this version of the Quranic religion in terms of visual quality of the four Pregnancy laws (similarity, symmetry, principle of continuity and context), is the presence of balance, symmetry, complexity, multifactoriality, dynamism, diversity and the element of emphasis.

The use of jewelry and ornaments has always been one of the most important manifestations of the glory and grandeur of kings and courtiers in the imperial governments of Iran. One of the imperial dynasties in which the use of jewelry had a special place was the Qajar dynasty. In this era, due to socio-political interactions, very magnificent and expensive jewelry was made and exchanged between governments. Thus, throughout the imperial history, vast treasures of jewelry have been collected, each of which is kept locally. Meanwhile, the national jewelry treasure is one of the most comprehensive collections of expensive jewelry in history. Geometric patterns used include circles, ellipses, rectangles, triangles and polygons. Common plant motifs also include three-feathered, four-feathered, five-feathered, eight-feathered flowers, leaves, roses, sunflowers, and so on. Animal motifs such as birds, lions and dragonflies can also be seen in a number of specimens. Shamseh is another pattern that has been used in the center of most samples. Other motifs include inscription motifs that were observed in a number of embossments. In the study of the visual features of the Qajar royal palaces, the mentioned treasure can be seen as a visual element of balance, symmetry, strength and stagnation. The structure of the jackets and the decorative motifs are coordinated so that the motifs are organized and decorated according to the general form of the specimens. The most important aspect in beautifying these pavilions is the use of expensive jewelry such as diamonds, emeralds, diamonds, rubies, as well as the use of gold and silver metals.

The pictorial rug of "Layla’s camel" belongs to the Qajar era, in which the central image is occupied by the large body of an "intra-hybrid" camel; the outer shape is realistic and the inside is composed of a large number of small human and animal motifs. Creating patterns of some creatures in this way became popular in Iranian painting from the Timurid period, which reached its peak and popularity in the Safavid era. This method also was considered in the Mughal art in India at the same time as Safavid. In this article, the "Layla’s camel" rug is described and analyzed with iconographic approach and using library resources and some scientific websites. The purpose of this study is to introduce a specific example of pictorial carpet and analyze it in a scientific way. In this regard, an attempt has been made to answer these questions: How can the relation of rug inscriptions with its central image be read? What is the main theme of the story from the perspective of iconographic analysis? What is the irony of the collection of animal species that make up the body of "Layla’s camel"? What do the presence of the angel-harpy and the red-winged dragon symbolically mean in the rug? Poetic inscriptions in the margin of the rug, in harmony with the pictorial elements of the text, refer to the story of Layla’s wedding with Ibn-Salam and her farewell to Majnun, quoting "Maktabi_e Shirazi". But the main meaning of the story at this stage is the victory of good (Majnun) over evil (Ibn-Salam) by the animals. The "intra-hybrid" camel also consists of animals that Majnun was accompanied in the mountains and in the desert, but at the same time has a caravan of wedding joy. Also, the image of the angel-harpy in its ancient meaning is a symbol of victory, which refers to the battle of the animals that support Majnun with the dragon – Ibn-Salam– and kill him.

A psychological theory of how visual perception by the human brain explains. In fact, the mind at first glance, instead of understanding the details of a picture, is a percentage that presents a whole. Pergnan's law is one of the principles of Gestalt and visual perception, which is one of the best study methods for research in the field of book design. Pergnan's law is one of the eight principles that can be used in the art of painting. The art of painting is one of the best illustrations in which intelligent visual and psychological capabilities can be examined.

The present study, while introducing the capabilities of Gestalt psychology in the analysis of visual elements, examines three selected paintings from the Herat school from the Shahnameh of Baysanghari and then explains how to perceive and recognize visual patterns in the components using Gestalt laws.

In this research, qualitative research method has been used. Therefore, according to the paintings of the Herat period, from the illustrated copies of this period, the Shahnameh of Baysanghari and its three paintings with structural themes (architecture, war and hunting), as the main features for applying Gestalt patterns, visual analysis Done. The most important thing in this research is the study of Gestalt laws in other image sources that are cited in the research process. Therefore, in order to do this, in addition to studying library resources, Internet resources have also been used. It can be said that the present research is descriptive-analytical. The approach of the present study is based on structuralism. Research study methods are descriptive-analytical and information has been collected using library and Internet resources. This research has been done in response to two basic questions: The rules and principles of visual perception of Gestalt psychologists, to what extent can it be used in the analysis of visual elements in selected images? What is the function of Pergnance rules in selected paintings from Herat school?

The conclusion of the present study from Gestalt theory states that this view, about visual perception, the meaning of visual pattern and how the human organism acts in seeing and visually organizing, the desired results are presented that make the characteristic clear. Cognitive aspects in the formal structure of drawings. A qualitative study of the Gestalt laws in the drawings requires the presentation of quantitative results in the form of tables and graphs that help us to recognize the presence of these rules in the drawings. Since the field of study in this research is to identify the visual features hidden in the components of the drawings, first the theoretical issues of Gestalt theory and then the modeling of visual examples from the principle of Gestalt law and context have been studied. But the main focus of the present study is analysis and inferences that are the result of visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh which narrates three different topics (architecture, war and hunting). , Are shown in the form of percentage tables and graphs and the result of the analysis is distributed with the criterion of selecting the number of images. Therefore, according to these results, the strongest application of the Gestalt principle has its own form and context. Visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh, which narrates three different topics (architecture, war and hunting), are shown in the form of percentage tables and graphs and the result of the analysis is measured. Select the number of images distributed.

"Semantics" is the processing of text in the context of the signification of cultural codes (hermeneutic, semantic, symbolic, action and cultural narrative). . It should be noted that on one hand, the text is not limited to the literary text according to Barthes, but also works of art have the ability to be textual and therefore can be interpreted as a text and on the other hand, cultural authorities play the role of sources of meanings. The text under review is Mansour Qandriz's "Linotrahi painting" in the field of hand-printing, the subject of which has been included in the works of Saqakhaneh due to its reference to ancient Iranian civilizations and mythological themes shared with other cultures, especially in terms of decoration. The aspect of decoration, on the one hand, is the dominant factor and, on the other hand, prevents the explicit understanding of the meanings, which, in addition to not understanding the cultural foundations of the designs, has provided challenges in reading the text under study. Accordingly, the author of the present study has sought to answer two major questions. First, what is the method of reading each text of Saqakhaneh and the text under study? Second, what are the meanings arising from the motifs of the text under study? For this purpose, in the present article, the library method are used to collect resources and considering Roland Barthes' cultural codes from the semantic approach, major meanings such as ascension to the higher world, death, appeal to transcendental forces, belief in agents. The symbolism of fertility, the belief in human evolution and evolution, as well as the prominence of the matriarchal role in the diverse field of women, have been processed.

The study of archeological documents during archaeological excavations has always been a means to discover the relationships, solidarities, and interactions of prehistoric peoples and tribes. As we know, the first empires in human history were established at the beginning of the first millennium BC, when the civilization of the Iron Age of Guilan took place. The three Near East countries i.e, the Urartu, Ilam and Assyrian Empires in the first millennium BC, were the first ones claiming the "World Empire". Urartu was partially succeeded in unifying all of the Armenian plateau (eastern Anatolia) and part of the Transcaucasian. We have very little knowledge of Ilam. However, we have much to learn about Assyria, which was at its peak as the first "world empire" to encompass much of the civilized world of the age. The attempt in this article is to respond to two basic questions by studying and analyzing the shape and visual characteristics of the metal cups discovered from two given basins, namely Marlik and Hassanloo. First, what are the common aspects of Hassanloo's and Marlik's metalwork, and second, what kinds of effect do the specific characteristics of these dishes reflect from the adjacent tribes and contemporary neighbors of Iran. The method of gathering resources has been library (inductive), In so doing, the researcher in this descriptive-analytical research classified and examined twelve samples (two from Hassanloo and ten from Marlik) And he explains the ways they share and differentiate and presented the results into the tables. In this regard, these cups are first identified and presented in terms of form and content and then body decorations are comparatively shown and identified. Iconic decorations can be examined in two categories: iconic-abstract and iconic-natural. The decorations of the containers studied in this paper are divided into two iconic-abstract including plant, animal, human, and pure abstract motifs consisting of geometric and non-geometric designs. One of the most important findings of this research is the study and comparison of the discovered metal cups from the excavations of south of Caspian Sea and Lake Urmia in terms of visual structure, executive technique, method of construction and content of their designs reveal unity and correlation in ethnic, cultural and inter-ethnic roots among inhabitants of the ancient hills of Marlik and Hassanloo in the late second millennium and early first millennium BC. Further reflection on the design of these cups traces the connections and influences of these ancient regions with the northern Caspian basin and ancient hills located in contemporary southern Russia and the present Caucasus and areas around Lake Van and the northwestern region of present Iran; i.e., the Urartu. It also explains the culture of Lorestan and Silk Kashan from the south and west. Drawn upon the artistic findings and characteristics taken from the discoveries of the Marlik Cemetery, it can also be claimed that these works were influenced by the features of Assyrian art as well as Urartu’s, especially in Hassanloo and Mannea, one of its allies.