محبوبه ذباح

The purpose of this article is to investigate the reasons for the change in the nature of the ataloomataloo doll in the process of creating the rain prayer of the people of Roshtkhar. The main question is, has the doll (atalloo, Mataloo) changed in the path of evolutionary creation?  This research is a form of developmental research and from the point of view of descriptive-analytical data analysis, by collecting information in the form of documents,The rain prayer ceremony in Roshtkhar city scary doll called (ataloomatloo), which is not beautiful in appearance and is worthless. According to the evolutionary view, the puppets of Le Matalloo are repeated as the final text and work of art in a vacuum and have not been created in practice. Therefore, with common themes and early pre-texts with intensity and weakness in the historical context, it is prone to the bite of pre-texts and changes over time for various reasons. In the course of this transition, according to the transformation aspect based on developmental critique, while making changes in minor factors, the internal relations and its main identity should not be harmed. it is concluded that Ataloomataloo doll is the goddess Anahita, but under the influence of contexts such as ideological (political, economic), Cultural and religious) influenced by values ​​and norms over time has undergone changes in factors such as image and personality and manner of dress and social status, and identity in internal factors.

After the creation of Shahnameh, the reproduction of this literary text, which has a fixed and regular structure and system, was always considered by artists of different levels. However, the production copies lacked illustrations after the Shahnameh was composed for several centuries. From the Ilkhanate period, artists produced the first illustrated copies of this work. After that, the poems as a written preface became the basis for turning into a visual text in a drawing. Accordingly, painters modeled Shahnameh's stories to create visual texts or pictures. The tale of Zahhak bound on mount Damavand in Shahnameh is one of the cases that can be the basis for studying the connection between the visual text and the written preface. Two versions of the painting, including "Binding of Zahhak" in Baysunghur Shahnameh and "Zahhak's Death" in Shah Tahmasp Shahnameh, deal with the story of Zahhak's death, and the visual texts are the written preface for it. In the meantime, it is essential to analyze the fixed pattern presented in the written introduction and the changes made in its visual expression in the two versions. The structuralist perspective's transformation concept is appropriate for this study's theoretical framework. In different versions, the visual texts of Shahnameh have changed under the influence of political, military, social, and religious norms, such as ideological conditions prevailing in the time and context and personal beliefs of kings as the main clients of Shahnameh and even personal interest and style of painters. Relying on the concept of transformation in structuralism, one can be aware of these changes and possible causes and, consequently, the analysis of the performance of Timurid and Safavid painters in the form of visual texts of Shahnameh. The version of painters in the emergence of formal and content-oriented features in the visible text according to their perception of the written foreground, like translation, is one of the methods of recreating the written foreground to the visual text that depends on the extent of artists' involvement and change in the foreground. Also, combining these factors brings the mind closer to the concept of transformation in the view of structuralism. This research aims to analyze and compare the transformations of two images. The present study addresses the following question: how painters, based on the theory of Vladimir Propp, have depicted the story of Zahhak bound on mount Damavand in Ferdowsi's Shahnameh? Subsequently, the performance of painters in two versions in transferring the structural features of the written preamble to visual text is examined to determine the differences between the written preamble and visible text of the two versions belonging to the ninth and the tenth centuries AH (Timurid and Safavid periods) and to evaluate to what extent the narrative line of Shahnameh has been influenced by internal (main structure and system) and external (characters, landscapes, and spaces) components. Data collection in this article uses the library collection method and filing and observation tools. The analysis method in this research is qualitative, and the structuralist approach is used. This study shows that the visual texts of both images undergo a structural transformation in adaptation to the written pretext. In this regard, reasons such as being influenced by political, military, social, and religious norms such as ideological conditions governing the time and context and personal beliefs of kings as commissioners and schools of painting (Herat school in Shahnameh Baysunghur and Tabriz school in Shahnameh Shah Tahmasp) have been practical. Also, the personal interest and style of the two painters in expressing the standard and content-related features have caused a different perception of the preface. This indicates a kind of structural change in external and even internal factors, such as changing the hated character of Zahhak to an oppressed and pitiful character in both paintings and even the replacement of the character of Fereydon in the version of Baysunghur with the character of Baysunghur Mirza, and the character of Fereydon with Shah Tahmasp. Also, turning the belligerent atmosphere of the story into a written foreground to ambiance of feast and property has been mentioned in the visual text of Shah Tahmasp version for some time. Non-observance of the written pretext structure is also seen in the illustration of other elements. As a result, in response to the central question of this research, it can be said that the painters of the two paintings "Zahhak’s Binding" and "Death of Zahhak" do not have absolute fidelity in conveying the structural and internal features of Shahnameh in the form of the written preamble to visual text. In the future of this research, the pattern and this format can be used to analyze other adaptations of texts.

After the compilation of the Shahnameh, for several centuries, this work lacked visual arrays, and based on the latest findings, the first illustrated version of the Shahnameh was produced during the Ilkhanate period. Then, this movement was noticed by art patrons and book-making workshops in different regions of Iran, such as Shahnameh Baisangri and Tehamasbi in two different periods (Timurian, Safavid) are among the prominent examples of this domain. Meanwhile, although the pretext (Ferdosi's poems) is the same in both versions, the final text (Nagare) has different aspects. In this regard, the painting "Rostam's battle with the white devil" in Baisangari and Tehamasbi's Shahnameh (related to the story of Khan Havtam Rostam) has been examined as a case study due to the changes in visual expression, and subsequently, the concept of transformation in the perspective of structuralism as a theoretical framework can transform transformations. reveal the existing Based on the descriptive-analytical method, with the aim of comparing the structural transformation of the two paintings and achieving the depth of the story, the present research wants to address the question of how the painters have depicted the story of Rostam's battle with the White Devil by relying on the concept of transformation. Data collection in the current research is done using the library method, qualitative analysis method, and using the structural approach based on the concept of transformation. The findings indicate that both texts undergo a structural transformation in comparison with the poems of the Shahnameh (prologue). In this matter, reasons such as being influenced by political, military, social and religious norms such as the ideological conditions governing the time, the personal beliefs of the kings as patrons (supporters) and the ruling schools of painting (Herat school in Baisangari Shahnameh and Tabriz school in Tehamasbi Shahnameh) have been effective Also, the personal style of the two illustrators in the emergence of form and content features has caused a different reception from the pre-text in the creation of the final text. This indicates a kind of structural transformation in external and internal factors, such as the change of the hateful character of the white demon into an oppressed and pitiable character, the substitution of Baisanqormirza for the character of Rostam, the removal of other demons mentioned in the story in the version of Baysanqari, and the removal of characters such as Kikavus and his companions in The picture has been copied.

From the period of the Ilkhans, the first illustrated version of the Shahnameh was produced, and Ferdowsi's poems became a suitable background for illustration. Even though the painting "Battle of Kay Khosro with Afrasiab" in Shahnameh Baysonghory and Tahmasabi is inspired by Ferdowsi's poems, which is the same in both versions, but the paintings have different aspects due to the change in visual expression. It is important. are.The current research aims to analyze and compare the transformations of the authors' depictions to reveal the depth of the story. Therefore, it addresses the question of how the painters, relying on the theory of Vladmir Propp, have depicted the story of Kay Khosro's battle with Afrasiab.The method of analysis in this research is qualitative and the structuralism approach is used based on the theory of Vladmir Propp. Information is collected by the library method and the tool of sampling and observation. The results of this research show that both images undergo a structural transformation in comparison with Ferdowsi's Shahnameh. In this matter, reasons such as being influenced by political, military, social and religious norms, as well as the ideological conditions governing the time and context, and the personal beliefs of the kings as clients and schools governing painting have been effective.. Also, the personal style of the painters in the emergence of the characteristics of the illustration has caused a different perception of Ferdowsi's story. This indicates a kind of structural change in external and internal factors, such as the removal