فهرست مطالب fattaneh mahmoudi

The collection of Hamzanameh, taken from the stories of the Islamic period of India, has come to the fore in the light of the art of the Gurkani period during the reign of Akbar Shah And due to the efforts of Iranian and Indian painters, it has been implemented in the form of a work with characteristics of Indo-Iranian art. The paintings of this collection are by two Iranian artists who were brought up in the Safavid period. They have been filmed and supervised under the names of Mirsaid Ali and Khawaja Abdul Samad. By depicting this literary-artistic work, the painter has expanded the circle of semantic implications and added new layers of meaning to it. The aim of the current research is to investigate the concepts of good and evil symbols and image elements related to mythological codes And in search of an answer to this basic question: What layers of meaning exist in the elements of good and evil in Islamic paintings and what is their place in the pictorial elements of Hamzanameh? The research method has been descriptive-analytical and the paintings of Hamzanameh were analyzed according to the three stages of iconology presented by Erwin Panofsky. It is read and analyzed in order to reveal the semantic layers of the elements of good and evil. The results of the research indicate that the themes of Iranian painting have penetrated into the tradition of Indian painting and are nourished by the function of epics and myths. The layers of meaning hidden in the pictures represent the concept of good and evil, all of which have followed mythological codes.

Computer games, due to being new and overlapping with cinema and literature, exhibit two different aspects of themselves that deserve comparative studies. In this paper, elements of modern art and the history of modern literature are studied in the formation of video games, and then similar ones are analyzed and adapted in James Joyce's novel Ulysses and Hidetaka Miyazaki Dark Souls Games. The purpose of this research is to investigate the effect of modern art characteristics on modern literature and video games and also to express the change in the nature of their common elements. The sub-purpose of the research is to compare these games with other titles in the media of computer games and to answer the question: How can games, and new media in general, form a classic and modern identity at their core? And where is the place of the studied games in this arena? The research method is analytical and adaptive. The research findings show that the novel Ulysses by "James Joyce" and the games of the "Dark Souls" series by Hidetaka Miyazaki in the elements of "rejection of the novel's narrative method", "rejection of the traditional hero", "rejection of incident", "new linguistic experiences", "Freedom from time and freedom of time", "giving importance to the association of meanings", "not giving importance to conventions", "tendency to illusion and fantasy", "participating the reader in the novel", "proposing the issue of truth" and "discussion of opinions" and philosophies" are similar and compatible

This article follows the discourse systems represented in the iconography of the Qajar period Pen- Boxes, This article follows the discourse systems represented in the iconography of Qajar period pens, which follow the function of awarding a position. Therefore, relying on Fairclough's three-dimensional approach to critical discourse analysis, he has recognized the concepts of discourse and power as an arena for reconfiguring the function of the pen- Box, not as an artistic object but as a tool for assigning a position. And it tries to answer the question: What are the discourse systems in the iconography of Pen- Boxes. This research is based on assumptions. According to Fairclough, discourse also includes visual text. Accordingly, discourse as social action is manifested in three levels: text analysis, discourse, and critical discourse. The findings of the research show that the artist consciously created a discourse to legitimize the Qajar government by combining the discourses of tradition and modernity, breaking the rules of time, and combining metaphorical elements in terms of the use of positions and common themes. Defining metaphors by pencil illustrators, by displaying history and events based on the discourse of their class, somehow create their desired meaning and then create different and newer metaphors according to the function of ideology, culture and history. . In this way, they legitimize their discourse and de-legitimize the rival discourse, and this is the process of convincing the audience. According to the research findings, painters and iconographers confiscate metaphors in their favor and even depict icons in order to replace the metaphorical function of the pen to give a position instead of a pen maintenance tool. As the article showed, pens were a dual-purpose tool for maintaining writing tools and giving positions in the Qajar period. The undercoat painting of the pens is like text and consists of multiple layers. In answer to the question: What are the discourse systems in the iconography of pens? It should be said that the systems of these motifs are in line with the dominant discourses of the Qajar period, the discourse of archeology and nationalism, the religious in the Qajar period. The metaphorical encounter with the "other" is clearly seen in many works of the Qajar period, including tiles and pens. Putting together several pictorial texts, including Heaven and Hell and images of war, evokes the Qajar kings' concern about political relations with other countries, as well as the sense of fear and threat posed by Russia's recent invasion of Iranian territory.In addition to being a tool for writing, pens had a metaphorical function for giving verdicts to individuals in the Qajar period. Iconography of pens as a medium by using metaphorical images and related mental concepts, create the audience's mental belief. In order for the discourse of power to gain more legitimacy, the discourse of power of the Qajar kings uses the metaphors of the rival discourse from the iconography of the battlefields with the enemies and rivals of Iran in the Qajar period.

In his theoretical and personal approach, Hannibal al-Khaz has tended to express in its general sense or a range of expressionism (as a style), symbolism and neo-realism. He creates new works of art with mythological features by adapting ancient stories and myths or by changing the fundamental themes of myths and historical elements. Due to his belonging to the Assyrian culture, Hannibal Al-Khaz has always tried to use the artistic heritage of his people in a modern format and at the same time, use different Iranian and Western sources and schools in his work. Intertextual thinkers, by introducing a new understanding of the concept of text, presented the achievement that no text is self-sufficient and that any text at the same time will be both an intertext of earlier texts and an intertext for later texts. With the expansion of the concept of text, texts other than writing, such as the visual arts and painting, are considered as text. Because contemporary painting constantly relies on recognizable images from past classical paintings. The question that arises is what is the intertextual reading of special paintings and the role of themes in the meaning of special works? In the present article, the descriptive-analytical method and in particular the interpretation of intertextuality by Julia Kristova and Roland Barthes have been used to read the paintings. The results of this research show that special paintings have a kind of figurative narration and different themes taken from previous texts based on a face-to-face relationship form the text of the work. Numerous themes in these works have produced implicit meanings due to the interaction and intertextual relations, and these meanings have been different in each reading, which is the meaning of Barthes. These visual themes, along with their special style, narrate semantics such as inducing a sense of anxiety and worry about fate with the passage of history and the change of religions and cultures in the contemporary era

Having arisen out of a wide variety of research traditions, visual culture studies are certainly different. Shia believers painted their holy shrines with murals, which have a long history of customs and traditions. Gilan’s holy Shrines are places where religious events were held together with paintings on their walls dating back to the Qajar era. Accordingly, the images were influenced by developments such as the prevalence of Ta’ziyeh and the promotion of art and literature. This study focuses on religious and ritualistic beliefs of the region from the Qajar era to the present time. To this end, the question here is raised about the relationship between the concepts behind Gilan Shrineschr('39') decorative images and visual culture of Shi’ism during Qajar. Being qualitative in nature, the present study adopts a descriptive approach to content analysis with the findings demonstrating that the popularity of Ta’ziyeh and Shabihkhani during the Qajar era was the pivotal reason for building Gilan Shrines with those images. Furthermore, the event of Karbala, Stories of Prophets with its religious connotation, and folk tales all played a role in the formation of the paintings of Gilan Shrines.

Pierre Bourdieu, a French sociologist, believes that the tastes, judgments , and talents of people are social things, resulting in the social process of being a person during life. He regards the taste of the artist as the creature of taste for society, the taste of the class with cultural, social and symbolic capital. This paper aims to explore the comparative study of the signs of change in the works of Kamal al-Molk and Jacques - Louis David, based on Bourdieu chr('39')s ideas. Each of the two painters has worked on the milestone in their history. In this study, we have tried to explain a descriptive and historical method in addition to finding the cause of specific style selection of each of these painters, why or not the signs of change in works of David and Kamal al-Molk, can be explained using Bourdieu chr('39')s ideas. Findings indicate that the selection of naturalist and naturalist styles is influenced by the two artists influenced by the educational system, cultural capital, and their position in relation to the field of power. In relation to the signs of change, you cannot see a change in Kamal al-Molk works, given the inclusion of him in the category of independent artists of the field of painting, while in David, due to his position in the ruling class opposition, the change will be seen.

For many years, the two great civilizations of Iran and India have repeatedly shared their cultural traditions throughout history. This article, illustrates the book of the cooking NimatNameh in India, that illustrated by Iranian painters, deals with the effects of the painting in the school of Turkmens in Shiraz on this manuscript. The Ni‘matnāma is a late fifteenth-century book of the recipes of the eccentric Sultan of Mandu (Madhya Pradesh), Ghiyath Shahi, collected and added to by his son and successor, Nasir Shah. It contains recipes for cooking a variety of delicacies and epicurean delights, as well as providing remedies and aphrodisiacs for the Sultan and his court. It also includes important sections on the preparation of betel leaves as well as advice on the logistics of hunting expeditions and warfare. The text provides a unique and tantalising account of rarified courtly life in a fifteenth-century Indian Sultanate region. There is only one known copy of the Sultan’s Book of Delights in existence and it isheld in the Oriental and India Office Collections of the British Library. The manuscript is illustrated with fifty elegant miniature paintings, most of which show the Sultan, Ghiyath Shahi, observing the women of his court as they prepare and serve him various dishes. The book is fascinating in that the text documents a remarkable stage in the history of Indian cookery whilst the miniatures demonstrate the influence of imported Persian artists on the style of the Indian artists employed in Ghiyath Shahi’s academy. It now bears the title Ni‘matnāma-i alDīn Shāhī. The work consists of recipes for food and drink, for the preparation and distillation of perfumes and essences and also for aphrodisiacs and remedies for illnesses the first few miniatures are painted in a distinctive Shiraz (Southern Iranian) style but, increasingly, the later illustrations show the indigenous styles of book painting found in Central and Western India. They are important as the earliest known example of miniature painting in an Islamic Deccani style. In addition, the text itself is a very early example of written Urdu. For the first time a facsimile of the original text is reproduced for a scholarly audience. Norah M.Titley, the British Library’s retired curator of illustrated Persian manuscripts, has translated this exquisite book. The problem in this study is: how can the reading of the sign language system of the School of Turkmen School in Shiraz be read on the illustrations of the cooking book paintings in India with a semiosphere approach? The purpose of this paper is to examine the influence of the timurid painting in contrast to Indian painting in NimatNameh manuscript the method of research is descriptive-analytical with the approach of cultural semiotics of Lutman. The result of the research suggests that the remaining version of Sultan Ghiyath-ed-Din's period represents the presence of Iranian painters and painters in Shiraz at Shah Mandu's court.

Antoin Sevruguin is an artist and photographer of the Qajar periodical that, despite having the king's attention and interest, could demonstrate a critical perspective, appeal and protest of the conscious and protesting class of the society, by displaying a subject in different strata of society through the camera. Lucien Goldmann, a structuralist sociologist and theorist, used this method in his innovative approach called "genetic structuralism". Therefore, finding the worldview of its work and its relation to a social class is the basis of the genetic structuralism. The library and documentary data collection method is used in this study. In this discourse, the researcher has attempted to find the hidden worldview of the works by using the genetic structuralism and link it to the influential social group and examine the relationship between them. In the following, using the components within the works and the meaningful structure of society, he answers the following question: What is the role of different classes in shaping the forms and themes of Qajar period photography? The results indicate that there is a dialectical relationship between the artwork and the class. Antoin Sevruguin in all his works used themes and concepts such as class differences, presentation of Shah's power and superiority, considering people inferior, misogyny in society, Western influence, ignorance and negligence, humor and disorder in the community, along with the role of the protest class in informing the people.

The paintings of Falnama in Safavid period are important in several different aspects. Considering the fact that Falnama is one of the first manuscripts of Qazvin painting school, its paintings has great research value in terms of stylistics. Another important point is related to the intertextual relation of paintings with their multitude texts of their age, which shapes different themes in certain direction. In addition, the art of painting in contrary to its traditional function, in book designing and illustrating literary texts, used for a different function. Therefore, the paintings of Falnama, in terms of semantics, composed of multi-layer structures. What are the implicit and explicit semantic layers in paintings of Safavid’s Falnamas? This is the main issue here. Dispersed Falnama are the most widely reproduced and recognizable of all extant illustrated versions. Of its thirty known folios, one was published as early as 1913, but it remains unclear how any of them arrived in Paris, where they initially came to the attention of collectors. The Belgian dealer George Demote seems to have been responsible for disseminating several, if not most, of the folios among private and public collectors in the first decades of the twentieth century. Except for Four Lions Devour Zaynab, the folios of the dispersed Falnama represent some of the largest known Persian paintings and measure about 59x44.5 cm. By or before 1913, they were removed from their surrounding margins, which would have further increased their size. The varying degree of Surface damage suggests not only the illustrations were frequently used but also perhaps they have been separated for some time. The text-image relationship of the dispersed Falnama, however, demands an ordered sequence, since each illustration is linked conceptually to a facing text, and viewing the pair side by side is critical for understanding the full meaning of the augury. Furthermore, all pictorial Falnamas with related textual auguries appear in codex form, even if the text and images are not Contemporaneous, as is the case of the Ahmed I Falnama and the Dresden volume. Although it is impossible to determine at this time when the folios of the dispersed copy were separated and the reasons for this alteration, circumstantial evidence suggests that they, too, originally were bound, allowing the seeker to view text and image together. The style of the illustrations indicates that the dispersed Falnama probably was created between the mid-1550s and early 1560S, The Scale and treatment of the figures, the more simplified compositions, and the looser, more spontaneous brushstrokes depart from Works created in Tabriz. This paper tried to analyze Falnama’s images (Tahmasbi version, dispersed) with an iconology approach. A discriptive-analytic method used to analyze the images in three steps. The result of this study showed that the existence of religious and Qur'anic themes in the paintings of dispersed Falnama, and their abundance compared to other themes, is intended to make the perception that this book is in accordance with the tradition of Istikhareh, and therefore it is unobstructed in Sharia law. Along with that, other beliefs revived through non-religious themes of images.

Falnama of the Safavid era, includes multiple images with a variety of themes and the main purpose of this study which focuses on the prediction and concludes with a depiction of the fortune telling. Indeed, this research seeks to identify the diversity of the themes in Falnama paintings in Safavid era. The Topkapi Saray museum Falnama, with its fifty-nine paintings, the bound Persian Falnama (TSM H.1702), now housed in the Topkapi Palace Library, is the most extensively illustrated copy. Attributable to the last quarter of the sixteenth century, the manuscript's written and painted folios have been carefully integrated into a unified ensemble. The volume must have entered the Ottoman royal collection sometime belore the reign of Ahmed ii (reigned 1703-30), whose seal appears on the flyleaf and offers a terminus ante quem for its acquisition. Its maroon binding dates from the reign of Sultan Abdulhamid II (1876-1909), at which time some of the folios may have been re-margine. Similar to other Falnamas, the manuscript has an image on the right (verso) and a related text folio on the left (recto), but it is also the only monumental copy to Integrate text and Image on the same page. Each illustration is framed by a pair of couplets in Nasta'liq script that introduces the subject and the general nature of the prognostication. In addition, Koranic verses (aya), copied in gold, blue, or red Muhaqqaq script, appear at the top of each illustrated folio. In many instances, the verses refer directly to the subject of the image; in others, only fragments are used and the connection between the illustration and the sacred text is more opaque. Such a highly unorthodox scheme simultaneously underscores the source of the images and lends them indisputable authority. No other illustrated religious, historical, or literary manuscript attempts to relate its paintings so explicitly to the Koran, which further adds to the exceptional nature of this particular volume. To this end, the question raised here is over the relationship among the concepts behind Falnamas’ paintings with prediction and fortune telling. Being qualitative in nature, the present study adopts a descriptive approach to content analysis with the findings demonstrating that the popularity paintings in Topkapi Saray museum Falnama, in three major religious, literary and astronomical sections, the religious themes have the highest number of paintings of this manuscript. The themes of this version of the Falnama have been used through the narratives to determine good and bad affairs and the predictability of prediction. Also tried by imposing the concept of resorting to the religious themes of the images give legitimacy to prophesy against the Religious prohibition.

The present study seeks to design a product with a culture industry theory, due to the shared commonalities with the culture and consumer goods. The overall aim of this study is to examine how the theory of culture industry influences the formation of thinking about community culture without questioning the role of active companies. It also aims to examine the impact of the culture industry on cell phone audiences. The present study aims to design a product from the perspective of the theory of culture industry, due to the shared aspects of culture and consumer goods. The overall objective of this study is to examine the effect of the culture industry on the formation of thoughts about community culture without questioning the role of active companies, and also to examine the effect of the culture industry on mobile audiences. This study attempts to examine the relationship between human and consumer goods in the mobile phone as a sample mass media product by analyzing the objectification process in contemporary society. Therefore, the question posed isto focus on assessing the thought achievements in today's industry, and studying the cultural challenges in identity formation, objectification, and consumption of products such as mobile phones. The purpose of this study is investigate the role of culture industry in designing a product. The research approach is based on the ideas of the Frankfurt School theory and their critique on mass culture and popularity, which is one of the most important cultural theories in sociology. The result of the research suggests that product design in contemporary society is an example of the culture industry theory due to the direct cultural effects and functions of the society. The culture industry, using the principles of integration, indexing and product design, already shapes the lifestyle and viewpoints about culture, politics, etc., for all groups in the society and can export the culture of a country to the world and protect the domestic culture. The culture industry can promote consumerism among its audiences. Undermining the power of decision-making and wisdom in the minds of the consumers using goods, creating a pleasurable imitation and idolatry of the goods result in an unreasonable consumption and search for the lost identity of human beings in the 21st century. Therefore, paying attention to brands in product design and manufacturing products in different areas of individuals’ lives as well as using tricks such as participating them in the process of manufacturing their own products help to manufacture the products in proportion to the consumers’ interests and needs. This product-specification for consumer groups does not really reflection the capital owners’ consideration of the interests in all classes, but it is precisely the culture industry's trick to classify the consumers so that no one would get out of the consumption cycle. Brands try to make consumers think that they have the freedom to act and be the final chooser, while this is a deception showing that the culture industry uses to prevent the mass of people from independent thinking to remain dominated.

Belief in the effect of the status of celestial bodies on human life events has long been common among different ethnic groups. The Astrological Concepts in Iranian art have been used as decorative engraving in metalworking and other applied arts in different periods but in the illustrated Falnama of the Safavid era, these concepts were not used as decorations, but in their original nature, as a tool for predicting. Forecasting through astrology in the Islamic period has been faced with the prohibition of religious institutions. With regard to the determinant role of religion in the Safavid dynasty, this question is raised that how forecasting through astrological concepts were started in illustrated Falnama of the Safavid era and what steps have been taken to legitimize it against the prohibition of religious institutions? In this paper, to address this issue with a descriptive-analytical-comparative method, four Illustrated Falnama: the Dispersed Falnama, the Topkapi Persian Falnama, the Dresden Falnama and the Falnama of Ahmet I have been studied. In the present study, the presence of the concepts of astrology in the images of these four manuscripts was first examined, then the way of illustrating the concepts of astrology and the legitimization strategies are adapted to this prediction method. The result of this study indicates that the astrological sentences in prediction were not used in the oldest version of the Falnama due to the religious prohibition and were used in the augury text. But in the next manuscripts, these concepts are directly depicted in the drawings, by using some solutions such as the use of Quranic verses in each image, religious icons along with astronomical theme, and also angels to legitimize the use of Astrological sentences in prediction.

One of the most important artistic and intellectual currents of thought in the history of Iran is literature. Culture of Iran cannot be separated from its context. Painting as a valuable legacy of art interacts with literature. One of the examples of this interaction between painting and literature is Khavaran Nameh manuscript by Ibn Hesam Khosfi. The importance of this version which painted and arranged in ninth AH is in artistic scenes. This religious-epic collection includes a description of First Imam's campaign; the poems, painting, and gilding of this version is appointed to "Farhad Naghash".
The paintings in this study is inspiration of Khavaran Nameh manuscript by Ibn Hessam Khosfi which is a prominent literary work. The significance of this version which painted and arranged in ninth century AH is in artistic scenes. This religious-epic collection contains descriptions of Imam Ali's (AS) battles. This collection is written in 830 AD and has followed the rhetoric of Ferdowsi's Shahnameh. Paintings and gildings of this version is appointed to "Farhad Naghash". He was from Shiraz and had created art in special manner. According to dated images (painted in 881, 882, 892 AH), it can be said this precious version is finished around 892 AH and it took ten years for him to write and design it. By painting this literary work, the painter has expanded the implication and added new layers of meaning. The problem that arises here is finding the explicit and hidden layers of meaning in the paintings of Khavaran Nameh manuscript. Therefore it is necessary to analyze and research artistic treasures of Iran with its theories, approaches, and new method in the field of art criticism and aesthetics. This article is an attempt to collect information in two ways: a library method and descriptive-analytic method. The paintings of Khavaran Nameh manuscript read and examined in three stage steps based on the Erwin Panofsky's iconology pattern that presented in twentieth century in order to make different layers of meaning transparent.
One of the innovative aspects of the present study lies in new approach to analyzing Khavaran Nameh's manuscript paintings. Artistic and literary works have different text and hypertext aspects, every critic shows one of these aspects. Some of these aspects are inter-textual and others are intra-textual.
The themes and the artist's point of view toward Iran traditional painting has been showed in this study not to the real world but to literary and art discourse. This discourse is related to myth by means of literary epic. The hidden meaning which achieved by three stage of iconology refers to four elements and mythical concepts.
The study of several paintings selected from Khavaran Nameh manuscript showed that the meanings of most of these paintings rooted in literature; even the paintings of completely religious books have mythical themes. Undoubtedly, read and meaning extracted from this study is not the definite meaning of these paintings. This point indicated that these paintings have high interpretational capacity and should be studied with new critical art approaches.

In addition to aesthetic features, artwork reflects the social and cultural context of their production. One of the issues that can be achieved by studying the artwork of different periods is the concept of identity. Since the notion of identity implies "otherness", Cultural semiotics for the study of each culture, it also examines it in contrast to other cultures. According to theoretical consistency in the two fields, in the present article, it has been attempted to examine the identity of Safavid period art works in contrast to the Ottoman regime by using the semiosphere approach. To achieve this purpose, using the descriptive-analytical method and the semiotic approach, the cultural-political space between the Safavids and the Ottomans is drawn and the identity issue was analyzed as a case study in several works of art that came from Iran into the Ottoman space.

Iranian religious art has avoided any figurative representation following the expression of the exalted order. The religious topics and otherworldly affairs were restricted due to the necessity of the figurative representations and narrative atmosphere. Despite the frequent emphasis of Quran and Hadith in this field, the art of Iran is devoid of any visualization of otherworldly affairs - except rare cases relating to the prophet's visit to heaven and hell in the manuscripts of “Books of Ascension” (Mirajnama) - the culmination of this field is related to the folk art in the Qajar era. The studies show that the Islamic art has avoided the representation of otherworldly themes due to its viewpoint; yet, since the Qajar era, the large scale representation of these themes is observed independently and for the first time. This was made possible when the class of the artist and customer changed; in reality, the folk artist drew the figurative representation of otherworldly affairs according to the worldview of his class. The aim of this research is the figurative representations of otherworldly themes in the art of Iran to study one of the most crucial absent religious themes in the art of Iran. Two questions have been addressed in this article: 1. How did the works in regard to the otherworldly themes advanced in the Islamic art of Iran? 2. What characteristics does the representation of the otherworldly themes have in the Qajar era and what are its differences with the previous period? The research method is descriptive-analytical, based on library sources. In the Qajar folk art three categories of the Coffee House painting, holy shrines painting and Under Glass Painting have been studied, in which we encounter a new world in regard to the representation of otherworldly themes in various scales and extent; this art reflected the ideology exclusive to the common class in Iran for the first time, which is ardent religious beliefs and pious faiths.

Despite the Islamic texts, which are rich in material on the resurrection and mention it specific in a few Sura of the Qur’an, but there is no trace of illustrating this, event in the Islamic art of the Qajar period, in fact, representations of resurrection was inspired from Christian art that has been rich in Representation of this subject. The origin of this inspiration are traced back to the Safavid period, that is The impact of the international relations and presence of merchants, and Christian tourists and specially the immigration of Armenian to Iran. But the climax of this impact on religious art and figurative and Iconic representations in large scale and diversity was in the Qajar period, So that the embodiment of Doomsday Scene was Belonging to this period But in this course there was only two paintings that depicting the Resurrection and their belonging to an artist by the name of Mohammad Moddaber. While Christian art that has been rich in Representation of this subject,The works of Mohammad Modaber were inspired from Byzantine art specially Russia that has been in more contact with Iran than other foreign countries. In this article we study the Source of influence and compare the artworks of Doomsday from a Byzantine art of Russia with the Doomsday (judgement day) painting from Mohammad Modabber.

Literary texts are definitely interpreted by dogmatic approaches, whether those are classical or modern theories. However, literary texts do lose their absolute and final meanings in post-structural approach; in other words, the importance of meaning uncertainty decreases in them. Consequently, it is possible to have different readings of a text which can enter into it from any side. This essay aims to analyze a painting which is considered as a new reading of Hafez's poem by referring to Jacques Derrida's theory related to refutation of binary opposition and meaning uncertainty in the text. Hafez's book is among those texts which are always interpreted between gnostic and hedonistic approaches. Contrary to the classical interpretation in which meaning certainty is followed, "gnostic and hedonistic inebriation" painting by Sultan Mohammad destructs these oppositions; hence, it will be a new reading of the poem. According to the findings of the research that are achieved by analytic-historical method, this painting create a new world of meanings by geometric composition, colors and characterization. Therefore, it is not captured in a special domain and maintain ambiguity and equivocalness in Hafez's poem.
Accordingly, we can say that there is no final meaning in this painting because audience synchronically experiences gnostic and hedonistic world and meaning orientation destructs for absolute interpretation.

Warqa – Golshah is the first illustrated story that ever has been written in the fourth and first half of the fifth century. This story is a collection that embodies a mixture of love and epic. First Manichaean sources that researchers reached in East Central Asian region is Turfan paintings. Turfan Manichaean paintings can be seen in two distinct styles: 1. Asian style painting in particular, an Iranian-style visible in Islamic period 2. Chinese style, in fabrics and wall paintings in China.
The purpose of this study is to evaluate the characteristics of the Manichaean miniature in Turfan and Warqa – Golshah paintings in Seljuk period. Therefore, some paintings that are less damaged were studied and analyzed to determine the characteristics of the Seljuk’s era painting. The research question is that what elements of Turfan Manichaean paintings are in Warqa – Golshah paintings in the Seljuk period? Research Methodology is Descriptive analysis and to improve the hypothesis a comparative method of the visual elements of paintings was used. After comparing Warqa – Golshah paintings with murals found in Turfan, it was found that the continuation of the motifs, themes, and decorative elements in the paintings, faces, expressions and clothing of Turfan Manichaean murals in the Muslim Seljuk period, and miniature paintings of Golshah that were studied in this research, is quite evident.

Applied arts are the most important works of ancient Iran civilization. These works are the subject of researches from different aspects.
The analysis have done in some of the research approaches, examined different aspects of the works independent or at least in the context of the historical period in which the works were created.
Typically in most researches, the form is categorized or techniques, motifs (geometric, animals, plants, etc.) and other aspects of the works of art are sufficient studied. And the nature, meaning and the real existence of the works, may be neglected and remains undetected.
Theories in the field of intertextuality, have been providing a new understanding of the text, which conveys that, that no text is self-sufficient, and each text at the same time will be an intertextual concept of previous texts and next texts. With the expansion of the concept, text (linguistic signs) is not the only applicable text and interpretable phenomenon but also can be considered as text. Therefore every phenomenon of the text can be read by using methods of intertextuality.
The question of this paper is: how intertextuality approach can be used for reading and analyzing of applied arts? In this paper to answer the research question, Nishapur pottery designs are considered as the case study of research.
Since intertextuality is being a famous concept among different scholars, and because in different periods, it has different interpretations, in this paper Julia Kristeva and Roland Barthes theories are the fundamentals for analysis.
This study showed that the intertextuality approach can be used as a theoretical basis and a new possibility for art researches in order to gain further more accurate results.

Archetypal criticism is an interdisciplinary approach that is based on the study of sciences such as psychology, anthropology, religious history and the history of civilization, which deals with the analysis of texts. In this article, with this approach, compare Battle of good and evil and its presence on Archetype patterns, focusing on Shahnameh by Ferdowsi and Khavaran nameh khosafi.In Khavaran nameh painting, where fairy tales and fantasy stories of trips and war and bravery of Imam Ali arises the old model of "Armageddon" comes.In the analysis of the Shahnameh, conflict, internal or main theme of the struggle between good and evil that we find the main theme of Shahnameh, That is such a spirit on the part of such a great work. Frequency Shahnameh stories that direct practical struggle of good and evil are involved, at least is double from another khavaran nameh. The struggle between good and evil (the major house dust mites in the Shahnameh) can be as deep structure of the narrative pattern in the collective unconscious of the human mind, considered the archetypal narrative. The purpose of this article is comparing the struggle between good and evil in shahnama and Khavaran nama. After study four paintings of each epic books paintings, Which involves a battle between good and evil are, we can realize, Shahnama’s influence on khavaran nama in three archetypal characters, archetypal symbols and archetypal situations and actions.

Ta'ziyeh is a form of Iranian musical pageant that is the theatrical expression of religious passion; based on the Battle of Karbala and performed annually. The nucleus of the taziyeh is the heroic martyrdom of Imam Hussein(p.b), the grandson of the prophet Muhammad(p.b) and has inspired by Culture, literature and ancient Persian mythology. Ta'ziyeh has taken a deep relationship with many factors including: religion, myth and folk tales of traditional society and culture. The purpose of this article is to represent how ritual and religious identities, can be expressed in the visual arts of Mazandaran. After review of the foundations and taziyeh's concepts, this paper detects relationship of taziyeh, with ritual and religious identity and reflects the impact of Archetypes and Myths in the visual arts of Mazandaran in Qajar era. After analysis of designs, this result was obtained that: religious contents of Taziyeh's literature had the greatest role in decorating Saqanefars buildings.

This text is an attempt to show some motifs in saqqa - talars’ paintings, that have important role in Iranian identity. This paper describes a type of traditional architecture of Northern Iran, which the author believes to have originated from ancient Iranian culture. I find that this construction is mostly made of wood and is called "saqqa -talar" to natives. "Saqqa" means one who gives water to others. On the other hands, all Saqqa - talars are devoted to Abolfazl, the valorous brother of Imam Hossein, the third Shiite Islamic leader. The motifs are signs directly or indirectly related to water, such as serpants, dragons, horned serpent- dragons, the two guardian angles of water and greenery (Khordad and Mordad), the king of rain among others. These are dichotomized based on varieties of forms and content: a: Religious designs b: Secular designs Prophets, Imams, myths and epics, folklore and legends, ancient Farsi literary texts, astrology and constellations, fantastic creations and geometrical motifs are most decorative motive. Calligraphy also plays a very important role in defining the identity of Saqqa-talars. I attempt to show how this motifs can identify Iranian art and folklore specially in Mazandaran. In this study, Tools analysing motives are based on the concepts, myths, epics and religious symbols. Studying this decorative painting, can assist us to become more aware of reality, identity and content of motifs and the roles played in history art of Qajar period in Mazandaran.

The majority of the Shasavan tribe lives in northwest Iran near the city of Ardabil and Dasht-e Moghan. Small groups of Shahsavan, however, moved to central Iran near Saveh, Garmsar, and Varamin. In Farsi (official language of Iran) Shahsavan means "those who love the Shah (king)"; Most of their weavings consist of practical pieces such as saddle bags, traveling bags and animal trappings. Their textiles frequently use the Soumak and Kilim weaves. It is likely that traditionally each clan of the Shahsavan confederation had its own designs and carpet presents its idea — the idea of a reality that simultaneously unfolds the Turkish-speaking Shahsavan people weave bags in the sumak technique. A series of large diamond latch hook medallions repeats down the field, each enclosed in a compartment of different color. Shahsavan weavings have a strongly tribal flavor with highly abstract, geometrical designs and rich colors. They are sometimes distinguished by certain shades of lavender or deep pink and salmon tones, in conjunction with soft blues. Shahsavan carpets are very similar to Caucasian carpets. The Shahsevan tribes were originally transported and resettled in the Northwest from Central Asia by the Persian kings in the seventeenth century. This helps to explain the ties between these rugs and those of the Turkmans and other Central Asian tribes. This paper discusses the ancient roots of tribal weaving, the interrelatedness of common designs and tribal motifs in Shahsavan and Caucasusian Kilims. Larger Shahsavan rugs are uncommon, and often they are mistaken for rugs from the nearby Caucasus region.