فاطمه شیرازی

Genette's transtextuality is one of the important topics in reading and checking the relationships between texts, which has checked these relationships in its various forms and is divided into five main categories. This research, based on Genette's transtextuality, has studied one of the clothes in the Royal Clothing Museum. This dress is a Hypertexte, the Hypotexte of which is the needlework clothing of the women of Baluchistan region, hence a connection between these texts has been formed which can be investigated.This connection is important because Baloch needlework is one of these artistic and original stitches, which is used in the clothing of Baloch women and girls and for the purpose of decoration and grooming. Although Baloch needlework has an identity and originality in terms of motif and color, structure, sewing method and execution technique and materials used, as well as functionality that has kept it to this day, But in the Pahlavi period, especially in the 1950s, a modern and contemporary reading of this pure art was carried out, which appeared in the court and royal clothing of men and women of the Pahlavi family and their close relatives.soThe purpose of this research is to study and investigate how the needlework of this Pahlavi family dress is related to its Hypotexte in Baloch needlework and answers these questions. How is the relationship between this royal dress of the Pahlavi court and its Baloch needlework Hypotextes based on Genette's transtextuality explained? And what changes have taken place in the process of forming this relationship? This research was conducted in an analytical-comparative and descriptive manner, based on Genette's Hypertexyualité, and the data analysis in it is qualitative. This research showed that the relationship between two texts is Hypertexyualité and the Transformation from Hypotexte to Hypertexte was accompanied by changes in the Visual structure, environment, discourse, function, user, etc

Representation of art is considered to be a complex topic and different art fields use it according to their expression style. One of the most obvious examples can be found in the pattern of Iranian carpets. Various forms of single meanings arising from Iranian and Islamic beliefs are evident in all the paintings. This unity of meaning at the same time as the plurality of forms can be considered the most important value hidden in the art of carpets, which, while creating beautiful images, makes it possible to understand the meanings of symbols through the creation of a substitution relationship between them. The role of Iranian carpets, as one of the manifestations of Iranian-Islamic art, especially during the Golden Age of Iran, i.e. Safavid era, can be considered as an example of the manifestations of Eastern and Islamic art. So that each of these motifs show the concepts and foundations of Islamic art in a way. Now the question is, has the common mystical and philosophical vision in this period influenced the role of the carpet? And how can this effect be observed? This research has been done using the descriptive-analytical method and collecting library data with the aim of research in the manifestation of the world of Safavid period carpets. According to the researches, we witness the spread of the ideas of Hekmat Khosravani, the philosophy of illumination and its influence in the manifestation of the world of example, Horqalia, Gang Dej and Shahr Armani in the text of the carpets of this period. Also, the presence of precise geometry, the variety of forms and at the same time its unity, the use of borders and rotating lines, the pattern of Lakh-Tranj and Baghi, are visual manifestations that will help us achieve the goals of the article.

Problem Statement: Khamsah of Nezami is one of the greatest books of Persian literature, which has been highly regarded by the miniature artiste of different times due to its romantic and lyrical poems; beyond this, it provides a salient context for field of social history and presents the cultural status of women in specific historical eras. The visual lived reality illustrated by the women images in Khamsah of Tahmasebi, including customs, traditions and socio-cultural conditions of them in the Safavid era, can be well studied in these miniature paintings. these representations are in somehow expressing the conditions of daily life of women in their historical transition. Research Method To get the research aim, the theory of different fields` influences on creating artworks by Pierre Bourdieu was applied to discuss the extent of the influence of historical and social fields of Safavid in illustrating women images in Khamsah of Tahmasbi. However, the question here is that: 1. what aspects of women lives in the Safavid era are presented in the miniature paintings of Khamsah Tahmasbi and 2. which social and historical fields have been influenced by it? We conclude that the images of women in Khamsah Tahmasbi, due to the strict supremacy of the Shah and the Safavid court, the "court women" are mostly depicted and, contrary to the views of traditionalists, who believe in presentation of an imaginary world, many public customs and beliefs, or the realities of Safavid society are represented by them.

Among the political and cultural strategies that were used in the court of Ilkhans was their view and approach towards religion and religious minorities. Many have considered this type of Mongol government's view of religion and religious affairs as religious tolerance, which made people of different religions appear in the court of Ilkhans and reach high levels of government. Also, the Mughal rulers themselves had different religions in different periods of the Ilkhanid era or were interested in supporting a particular religion. Abrahamic religions are among the religions that became very popular in the Mongol era, and many works of art are influenced by these religions. Among the famous artistic works of the Ilkhanid era, there is a manuscript of Rashid al-Din Fazlullah Hamdani's comprehensive chronicles, which was written and illustrated during his ministry. This version is a historical book and contains the history of myths, beliefs and culture of Turko-Mongol tribes and other tribes and religions. In this research, an attempt is made to study the conditions and the presence of Abrahamic religions in the Ilkhanid era and to find its representation in the illustrations of the comprehensive edition of al-Tawarikh Rashid al-Din. And let's answer this question, why we see the peaceful coexistence of images from the religions of Islam, Christianity and Judaism in the images of Jame Al-Tawarikh Rashiduddin. This research is done in an analytical-descriptive way and the data analysis will be qualitative. The results are indicative of this: due to the tolerance and religious tolerance that was present in the era of the Ilkhans, in the compilation and writing of the comprehensive version of al-Tawarikh, we see the presence of pictures with Jewish, Christian and Islamic themes (Abrahamic religions) side by side.