hossein abeddoost

Similar to religious reverse glass paintings, Gilan's holy shrine paintings are also religious art from the Qajar period. Among these paintings in the matter of religious beliefs and artists' origins, a unity in the style of narration and illustration can be found. Transtextuality, introduced by Gérard Genette, is one of the most important theories in literature and art. He addresses different ways of how a text can remind the reader of a previous one and guide the reader towards it. The main question of the research is which factors that have been used in reverse glass paintings and holy shrine paintings have transtextuality and similarity. The research method is descriptive and analytic and the library collecting content method is taking fiche notes and reading pictures text; the data analyzing is qualitative. Findings are indicative of a similarity and transtextuality relation between holy shrine paintings and reverse glass paintings. Forgery similarity is the application of visual elements and semantic implications, with functioning and imitating form and pretext content. Transposition Transtextuality in the visual structure and semantic implications has a critical role in hypertextuality. Artists have created a new concept by modifying elements and changing the concept in Gilan's holy shrine painting.

The film logo is a sign that, in addition to conveying written concepts, also has visual and aesthetic aspects. The current research seeks to answer the question of what is the relationship between visual and written signs in the integrated logotypes of the children's program and what role do these relationships play in the meaning transfer process. The aim of the research is to analyze the relationships of coexistence and substitution of visual and written signs in these logotypes and to describe their referential function with the content of the film. The research method is descriptive and analytical. The method of collecting the materials is a combination of the library method through taking samples and reading pictures and field observations through providing an open questionnaire and interviewing children. The analysis of the findings is qualitative. The findings of the research show that the relationship of coexistence and substitution of written and pictorial signs in logotypes of children's programs can be identified in a special way. The coexistence of these signs strengthens its unfamiliarity and uniqueness, and the result is creating visual appeal and differentiation compared to other logotypes. In some cases, these relationships affect the readability of the logo. Substitution relationship occurs when some signs of the movie or its content replace the letters of the logo, and the simultaneous reading of the text and its visual understanding is done for the child audience according to the content of the movie.

 Sefidchah Cemetery, located in Yaneh-Sar, is a part of the Hazarjarib mountain region, which is located in the southeast of Mazandaran province. The date of the oldest tombstone of this cemetery is related to the 9th century AH, which is attributed to the period of Timurid rule in Iran. In this cemetery, each deceased person has two tombstones. A vertical and standing tombstone above the head and a stone below the feet are intended to identify the graves. Usually, designs are carved by the artist on both sides of the stones. This cemetery is considered to be due to the presence of white soil. The name of this cemetery has been attributed to the white soil of Sefidchah village due to the abundance of lime. The tombs of this cemetery are distinguished by the shape and motifs carved on them and the type of grave. The history of the cemetery dates back to the Timurid period. The combination of motifs carved on the graves has given a unique quality to these works.  The patterns carved on the graves and the forms on the raised gravestones have given this cemetery a unified and exciting visual effect. These motifs are closely related to the ancient history and culture of this land and Persian beliefs.
Question: The main problem of the research is to know the symbolic concepts of plant, geometric, and animal motifs carved on the tombstones of Sefidchah Behshahr cemetery, one of the oldest tombs in the north of Iran.

 It has been noted that there are similarities and differences between the symbolic motifs of SefidChah Behshahr tombs with the ancient works of the north and south of Persian and the meaning of these symbols according to Syntagmatic relations of symbols and what is the relationship with the category of death rsiane symbolic motifs of Sefidand they have life. The symbolic aspects of the tombstones of this cemetery and its comparison with the ancient works of the south and north of Iran have been paid less attention so far. In this article, an attempt is made to conduct a comprehensive study in this field and to examine the symbolic concepts of these motifs. The research aims to describe and study the semantics and historiography of the symbolic motifs of Sefidchah Behshahr's tombs. A more accurate reading of motifs based on their similarity with Elamite motifs makes the semantics of symbols easier and more logical.

 Based on the studies conducted, the plant, animal, and geometric motifs of Sefidchah cemetery have yet to be studied. The motifs of Sefidchah graves have not been compared with those of ancient monuments in north and south Iran. The neighborhood of the motifs in question has yet to be mentioned.

Discussion and analysis: 

Sefidchah cemetery contains a treasure of unique motifs. Patterns that are unique in terms of diversity, coexistence, and arrangement. Sefidchah tombstones display a series of interconnected and repeating motifs in special formats and combinations that are still recognizable despite erosion. The art of Iranian stone carving artists has provided the basis for the emergence of local and Iranian symbols. These motifs can be divided into geometric, plant, human, and tool motifs. The results of the research show that, despite the crude hand-painted style of these graves, the motifs are comparable to some Elamite motifs in the south of Iran belonging to the 3rd millennium BC, as well as the examples discovered from the north of Iran belonging to the 2nd millennium BC. Among the motifs carved on the graves, the cypress tree symbolizes eternal life, surrounded by a zigzag line symbolizing life-giving waters. The circle is a celestial symbol that can symbolize the rotation and movement of the era. Water is carved on graves in concentric circles with wavy lines drawn. Water has become a symbol of light and purity with the use of geometric signs on eternal graves. The symbol of the life-giving sun is illustrated as a dotted circle, a multi-pointed star, or a radiant sun, a symbol of rebirth, resurrection, and life-giving power. Flowers are reminiscent of ancient rosettes or lotuses, a sign of living in water and connection with light. The bird symbolizes the soul and the sky; it is seen on the graves. The square and rhombus symbol of the earth are also depicted on the graves. The earth, which, according to ancient beliefs, is the mother of creatures, is illustrated with a rhombus and a square symbol. The motifs are arranged side by side under the coexistence system) Syntagmatic relations( In this coexistence system, each role has an independent identity, and the representation of some of them in the center and larger sizes shows the visual and semantic importance of the symbol more. The collection of geometrical and plant motifs of Sefidchah graves has displayed earthly and heavenly symbols, and trees are depicted as a bridge between the earth and the sky. Surrounding the central motifs with the sign of water in the form of a zigzag line or zigzags that irrigate some points reminds us of the importance of water in burial rituals. Therefore, the set of symbolic motifs engraved on the graves illustrated the belief in life and the resurrection of the dead by associating meanings derived from the critical forces of nature, and these symbolic concepts are in harmony with religious beliefs that consider death as a bridge to eternal life and the afterlife.

The battle of the Qasim is a common issue among the Guilan holy shrine paintings, religious paintings, the coffee house paintings and the images of the lithographed books. In the following research with the emphasis on Genette's transtextuality theory, it has addressed the hypertextuality reading among the paintings of Qasim’s battles in Guilan holy shrine paintings, compared to the illustrations of Mirza Ali Qoli Khoei’s lithography, coffee house painting and reverse glass painting .In hypertextuality, the relationship of a text to its pre-written texts gets analysed. The main question of this research is; what effective pretextuality existed among Illustrations of Qasim's battle, the holy shrine paintings, the coffee house paintings and the Ali Qolii Khoei's illustrations? Also, what kind of hypertextuality changes exist among the Qajar religious paintings with the issue of the Qassim’s battle? The following research is done in descriptive-analytic methods and the method of collecting the content is library through taking notes and studying pictures. Data analysis also carried out qualitatively. In the following research, historical narratives along with the first available texts related to the Qasim's battle, as the first pretext, includes historical narratives and Hadiths to the seventh A.H. century and in the second pretext of the book, Rawdat al-shuhada as the veiled text in Guilan holy shrine paintings, the religious reverse glass paintings, coffee house paintings and Khoei's illustrations (illustrated lithographed books) are considered; later in text the adaptation and analysis of written symbolic system to the pictorial systems have been addressed, in the meantime it analyses the transtextuality relations in these paintings.According to the studies, religious reverse glass paintings are the oldest pictorial pretext among these kinds of pictorial arts.After that, the coffee house paintings and Guilan holy shrine paintings, respectively, are illustrated pretexts and Ali Qoli Khoei's illustrations. Therefore, the explicit intertextuality can be seen among the Qajar religious illustrations. The Qasim's battle with Azraq and his sons are one of the most common issues among religious paintings. As it appears, a homogeneity relation accompanied with simulated forgery and pastiche, simultaneously with the transtextuality relation in the change of visual permutation contents and forms, exist among the reverse glass paintings, coffee house paintings and Guilan holy shrine paintings.The visual symbols used in the Khoei's works are shaped, based on previous pictorial pretexts, but simultaneously changes in the combination, the type of written content selection, including increasing or reducing content or cutting text and in some cases, different Khoei's motivations have created a new sign system. Because in the lithographed version, text and image simultaneously have caught the audience’s eyes; there has been more references to written texts in Khoei's illustration than other pretexts. The way of communication in the hypertextuality in textual and pictorial system includes the use of patterns derived from the text of the Hadith and preaching in illustration of the main characters, especially the type of portraying and representing the hostile and innocent characters in a homogeneous way include imitation. Transtextuality between text and image in the pretext and hypertext includes sketch of motives and avolition and hetero motive. It can be said that based on importance and interest, he sometimes repeats, omits or imitates with a different motive or even changes it. The syntactic selection of the basic written text and its use in Khoei's works has similarities with the Guilan holy shrine paintings, whether from the aspect of the motivation or visual signs. As it appears, the extension of the elements in the background has expanded by the extension of its range that is related to the subject and reveals Khoei’s attention to the written pretext. Content wise, expansion in Khoei's illustrations has an increase compared to Guilan holy shrine paintings with the use of elements including human characters, elements used in the foreground and background, which that is further derived from written pretexts.Pastiche and forgery homogeneous relations can be seen between Qassim’s Images in the Khoei's illustrations and Guilan holy shrine paintings.The pastiche interpretations include small changes in hypertext based on the original text which only has a decorative aspect and with more emphasis on the original text. Also, forgery is a duplication and imitation of pretext which is the cause of the homogeneous relations between Khoei's illustrations and pretexts.Since the text and image in Khoei's works affects the audience, he tried to recreate the written pretext for the audience in constructing and polishing his works; and the text of lithographed illustrations in expressing details have expanded more compared to other Qajar religious illustrations. The reducing permutation of the element in the foreground of Khoei's illustrations has provided a reduction current compared to reverse glass paintings, Guilan holy shrine and coffee house paintings, in Khoei's illustrations, omitting the heads which have been cut and beheaded bodies in foreground has a subjective matter and indicates killing massacre in small scales. In fact, Khoei provided the condition to cut the text by conscious removal of mentioned events in written text and existing elements in pretexts: which has a more subjective matter. Finally, it is concluded that Khoei's illustrations are affected by the reverse glass paintings, the coffee house paintings and Guilan holy shrine paintings and in the meantime based on the suggested evidence, the most influential was Guilan holy shrine paintings. In both categories of these paintings, the presence of the written text of Rawdat Al-Shuhada is more tangible than other samples. Also, the type of characterisation, the figures’ body, the delineation, the compositions and the selection of the elements of the narrative in the samples from the Guilan holy shrine paintings have many similarities with Khoei's illustrations.

One Thousand and One Nights is among the earliest literary works worldwide. The manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal from the One Thousand and One Nights collection was written in Persian in Nastaliq script in 1033 AH under Jahangir, the Mughal emperor in India. It demonstrates the profound influence of the visual traditions of the Indian and Iranian cultures and civilizations. The immigration of the artists of the Safavid court at the invitation of the Mughal rulers transferred Iranian artistic ideas to the Mughal miniature school. In India, the Mughal kings developed a culture and civilization exhibiting signs of Iranian art and taste. The visual traditions persisted in the Islamic civilization while preserving artistic values. The artists created impressive works and novel experiences. On the other hand, Mikhail Bakhtin, the 20th-century literary critic, theorizes the human being in relation and dialogue with the others and the community. The dialogical principle constitutes the basis of Bakhtin's thought, enabling the discovery of truth with the aid of the others. The resulting polyphony prevents one viewpoint from dominating the others. In dialogism, the ability to enjoy awareness draws upon otherness. The other's perspective and point of view affect human behavior, with the others occupying the audience's position. According to Bakhtin, realizing the situation implies knowledge of the world, and the path to consciousness travels through rich dialogue with the other. In Bakhtin's dialogical principle, the chronotope is highly important. Social situations and diverse interactions among the subjects reveal the notion of chronotope, understood by every individual as an independent position. The tale of Seyf Ol-Moluk narrates the story of a prince who falls in love with a princess named Bad Ol-Jamal and engages in conversations with the characters in the story while seeking his beloved, whom he finds by enduring many hardships. The tale of Seyf Ol-Moluk and Badi' ol-Jamal is made up of anecdotes that continue one another, each continuously influencing another event, illuminating novel meanings, and articulating the significance of the theme of love and dialogism among the characters for achieving the final goal. The story of Seyf ol-Moluk and Badi' ol-Jamal counts among the enduring tales in Iranian fiction__the only one with a perfect counterpart in the Persian language. The present study seeks to analyze the relationship between text and illustrations in the manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal based on Bakhtin's theories. It also investigates how the text and illustrations of the manuscript mentioned above deal with polyphony and chronotope. The research questions are as follows: 1. What dialogical relation and chronotope exist between text and illustration in the manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal? 2. How can similarities and differences of dialogism between the story narrative and the illustrations of this version be examined? The study employs a descriptive and analytical methodology and gathers data from library sources by utilizing note-taking and image reading. The research draws on a qualitative method to analyze the data. The findings suggest that Seyf ol-Moluk accomplishes his goal accompanied by polyphony among the other characters alongside the story text and illustrations. The dialogism among narrative elements and illustrations of this version is highly rich and harmonic. In keeping with the Iranian traditions and Indian indigenous culture, the human being is placed at the center of attention and contextualized in the environment. Essentially, the story puts forward dialogism between them. The element of language and dialogue play an influential role. The characters portrayed in the story narrative and illustrations of this manuscript hold a variety of viewpoints regarding one another. Polyphony and dialogism among humans are observed among human beings placed in the context of the environment. The stratification and structure of the space is richly described. Furthermore, the narrative and visual elements are equally important, each enjoying its unique language and dialogue. Despite all its ups and downs, the world of Seyf ol-Moluk displays a world in which the other matters. The personal world of Seyf ol-Moluk as an independent prince is not superior to the others and is not monologic due to otherness. Thus, the effects of polyphony are apparent in diverse manifestations, and the illustration artist has created a work based on Bakhtin's dialogical principle based on the story narrative. On the other hand, the chronotope in the text of the tale of Seyf ol-Moluk and Badi' ol-Jamal and the manuscript illustrations are in keeping with one another, demonstrating the importance of each character's life in their particular chronotope. The chronotope in the narrative text affects the fate of characters. With each chronotope in the story, a new situation emerges. The chronotope in the illustrations evokes the particular position of each character, displayed through unique visual components.

The tale of ebony horse is one of the illustrations of the One Thousand and One Night collection, enjoying considerable substantive and pictorial value. This work was illustrated during the Qajar era and is currently preserved in the Golestan palace complex. The present research aims to analyze dialogism and polyphony, the space-time continuum, the relationship between the self and otherness, and carnivalism in the text and illustrations of the ebony horse tale from the One Thousand and One Night manuscript. This analysis seeks to shed some light on how one can identify the foundations of the theory of dialogical principle in the content of the ebony horse tale and its illustrations. It also takes stock of similarities and differences of dialogism in the story narrative and images of this version.

The research method is descriptive-analytical, and the method of collecting library information is through note-taking and image reading. The analysis method is qualitative. The research community includes the textual and pictorial materials of the 12th and 13th centuries in the Qajar era, especially the illustrations of the One Thousand and One Nights by Sani al-Mulk and the textual content of the One Thousand and One Nights book. The author's perspective in selecting samples has a significant impact. The selection criterion is the compatibility of the work with the components of the losing theory, and 5 illustrations are examined. The exploration of Iranian painting commenced in the early 20th century and has witnessed substantial growth in the past few decades. Given the significant impact of the One Thousand and One Nights across diverse global literary and cultural domains, delving into the illustrations of this ancient literary masterpiece appears imperative.

The largest illustrated cultural book in Iran, One Thousand and One Nights, with over three thousand sessions, was created in the 13th century while preserving traditional cultural values. The Iranian painter connects humans with their environment and highlights the details of everyday life. Ultimately, the human figure emerges and takes center stage. Sani al-Mulk, in his creations, expresses a comprehensive image of a new culture, emphasizing individual values and human greatness while adopting a somewhat innovative approach. He relies on his inherent creativity and, through aesthetic efforts, presents scenes and familiar spaces that are recognizable and even introduces contemporary living characters instead of historical ones, adding allure to his work.One Thousand and One Nights, while retelling mythical tales and fantasies, portrays scenes of life such as streets and markets that reflect reality. The visual elements are drawn in accordance with the narrative of the story and a realistic perspective. Sani al-Mulk, understanding the principles of European naturalism, attempts to achieve a fresh synthesis of European and Iranian visual traditions. His intentional deviation from precise perspective rules, reflective of his inclination towards the traditions of Iranian art, allows him to break free from deep realism and preserve two-dimensional design and coloring.These characteristics are evident in the storytelling and visual representation of the story of the Ebony Horse. The Ebony Horse recounts the story of a king and his son, Hormoz, whose fate is transformed by receiving a miraculous gift. Iranian literature and arts have continuously integrated ancient patterns to describe a universal world passed down from their ancestors.Another important theme is Mikhail Bakhtin's theory of literature in the 20th century, which explores various human activities and the role of speech, understanding dialogical aspects, evaluation, and responsiveness. Art also evolves in line with his thought, showing a certainresemblance between them. Bakhtin sees discourse in the realm of social order, believing that society begins with the emergence of the second person. Language fundamentally possesses a qualitative socio-mental aspect, and its existence is of fundamental importance to humans. Human existence is found in connection with other living entities, and the fundamental reality of human existence is found in the bond between individuals.In this study, the story of the Ebony Horse is briefly mentioned, and then the narrative and visual representation of Sani al-Mulk are analyzed based on Bakhtin's theories. The narrative and forthcoming works are examined and analyzed in terms of concepts such as polyphony, chronotope, otherness, and carnivalesque, which are innovations in the present text.

The research results indicate that narrative expression, dialogical principle, polyphony, chronotope, and carnivalesque elements are identifiable in the content of the Ebony Horse story. Sani al-Mulk adeptly captured these elements in his illustrations. Indeed, there exists an evolutionary connection between the text and the visual portrayal of the linear rendition of the Ebony Horse story. This connection ensures that the identical principles of conversational logic, identifiable in the text, are prominently showcased in the illustrations.

The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality  as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran.

This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line.

The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They  have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime.

On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams.

Posters of the Art of Resistance Festival are one of the fields of formation of symbols and signs affected by the Islamic Revolution. The juxtaposition of the two factors, "image" and "text", is important in the design of these announcements. Symbolic relations appear in the design of the mentioned announcements in two ways: the axis of paradigmatic and the axis of syntagmatic. In the axis of paradigmatic, one element replaces another element. In the axis of syntagmatic, two or more elements are placed next to each other these relationships in some posters implicitly and in others explicitly convey the desired concept to the audience. In this research, the structural relations of signs in the posters of the resistance art festival will be identified.Emamifar, Sajoudi, and Khazaei (2010) in an article entitled "Semiological examination of announcements from the emergence of the Islamic Revolution of Iran until 2001" investigated how meaning is produced in the design of posters from the IslamicRevolution of Iran until 2001. In an article entitled "The Art of the Islamic Revolution", Rahnavard (2000) investigated and analyzed the Islamic Revolution of Iran in 1979 and its influence and expression on the culture and art of Iran. Talebi (2017) in his article entitled "Reflection of Islamic components and values ​​in the art of resistance" examined the posters of the first decade of the Islamic Revolution of Iran.This research aims to investigate the paradigmatic and syntagmatic axes of signs structurally and the types of relationships related to them in some posters of the resistance art festival, as well as analyzing the explicit and implicit meanings of visual and written signs in them. Accordingly the two following questions will be investigated:Based on what relationships do visual and written signs in the posters of the resistance art festival form the meaning transfer process?
What roles do these relationships play in the meaning of the poster?

The research method is descriptive-analytical. Collection of library and documentary information was through note-taking and image reading. Data analysis is qualitative. Statistical population is a collection of posters from the 5th Resistance Art Festival that was held in 2018. The sampling method is selective

The semiotic relationships in the resistance posters can be classified into two axes syntagmatic and paradigmatic signs. In the analysis based on the paradigmatic axis, relationships are based on 3 factors, which are: contrasting relationships, analogical relationships, and comparative relationships.

The poster "We come from the grandson of Abel of the Sun, who stand against the Cain of Darkness", is placed in the category of contrasting relationships. This relationship means the difference between the elements in the work in terms of position, orientation, and attraction of the elements to each other. This poster conveys to the audience the concept of good and evil in the confrontation between Iran and its enemies. The poster "I am a revolutionary" belongs to the category of analogical relations. Analogical relations compare the relationship between the elements in the text or narrate the artwork that in this announcement, due to the replacement of the fisted hands form on parts of the letters, an analogical connection arises in the mind. In the poster "The ax was from our family, we didn't know", comparative relations are strengthened due to the relations of paradigmatic of the ax instead of one of the branches of the tree and also the existence of conflict between the two. In the analysis based on the syntagmatic axis, relationships are divided into three categories: spatial relationships, sequential relationships, and conceptual relationships. The "Happy the 40th Spring of the Revolution" poster is placed in the axis of syntagmatic signs due to the juxtaposition of visual elements, and due to the placement of different components and elements in the image, it is placed in the category of spatial relations in the axis of spatial syntagmatic of signs, because spatial relationships mean the placement of the components and elements of the work in different axes of the image. The "Unity is the Code of Victory" poster is also placed in the axis of syntagmatic due to the juxtaposition of different components of the image in the poster, and according to the definition of sequential relationships, due to the placement of elements based on the alternation of the theme of the work and the creation of meaningful relationships with each other, it is in the category of sequential relationships. The poster "Iranian lion spills the blood of every hyena of disbelief", due to the juxtaposition of two images of lion and hyena, as well as the way the elements are placed and their proximity and the type of reading, is placed in the category of conceptual relations in the axis of syntagmatic of signs; conceptual relationships mean the reading of images and elements in them as well as the type of their relationship with each other. In all the works, when a visual sign metaphorically expresses the concept of revolution and Iran, understanding the meaning of the sign occurs on the axis of paradigmatic.

Producing series is part of the common media activities. Home video series are introduced by written signs. The typography of the titles of these series consists of symbolic relationships which influence the transfer of meaning. These relationships are categorized as “referential” and “non-referential” signs. The present research aims to analyze the referential and non-referential signs in the two syntagmatic and paradigmatic categorizations in the typography of the Iranian home video series. The method is descriptive-analytical and the data collection method is library analysis (note-taking and Image reading). The research suggests that there is a close relationship between the text’s meaning transfer with its form and content. Typographies are partly included in the referential signs due to the use of specific symbols and their direct reference to the natural world as well as the series’ content, such as The Monster, Frog, and Rhino in which the text refers to the natural world and also the series’ content. Others like Dracula, Yaghi, and Mortal Wound are included in non-referential signs due to containing symbolic concepts which require more contemplation to perceive the meaning. The interaction between referential and non-referential signs in the typography of series can be analyzed and plays a central role in characterizing the text, the series’ title and transferring its meaning. Also, these are categorized into syntagmatic and paradigmatic categories considering the typography of symbol and text

Guilan's holy shrine paintings is a display of folk art which most of them has been damaged or vanished over time because of different reasons. Shrine paintings is a representative of cultural identity of a community and it has been based on beliefs and narrations which have been common in the culture of that community. Shiism beliefs and narrations especially the Battle of Karbala are the subjects of these paintings. Similarity aspect of subjects and illustration methods of these paintings and coffee house painting have not been far off from the eyes of researchers, but Under-glass painting is one of the traditional arts in Iran which nowadays it’s getting less attention than before. It is worth to noted that under-glass religious painting has a lot of subjects and illustrations which is comparable with Guilan’s holy shrines paintings and Coffee house painting. Common text between these paintings are not only common subjects but also they consist of figurative and pictorial resemblances.On this basis, this question can be asked that how much these two kinds of arts affect each other and how much they accept changes from each other. These two paintings were almost popular and widely useful in the same period of time, based on the fact that these two paintings are subsets of religious arts. Wall paintings of Guilan's holy shrines are important because of the matter of recognition of the art of painting in Gulian and its origins. In previous years, journals، thesis and books have been written about these paintings and shrines, but the empty space of research and analysis in this field can be felt because of abundant numbers of painted shrines and paintings.Also Under-glass paintings have a historical record similar to Shrines paintings and it is a valuable part of Iran art which has not been getting enough attention in the past years, therefore study and research of this matter is necessary. One of the theoretical aspects of analysis and applied study which has been based on comparison and adaptation is, intertextuality. Hypertextuality analyses the relation between two artistic and literary texts, similar to intertextuality, this relation in hypertextuality in contrast to Intertextuality is not based on co-existence, but it's based on getting inspired and acquiring and taking. In other word in Hypertextuality, the impact of one text on another one is being analysed and not the existence of it. Of course we can say that there is always an impact in any existence and also there is always an existence in any impact. In this research, a comparative study has been conducted between six picture of Guilan's holy shrines and religious Under-glass paintings based on Gerard Genette's transtextuality with a hypertextual approach. The purpose of research, study and comparative analysis is the connection between represented forms in Guilan's holy shrines, Under-glass paintings and Hypertextual relations between these two. Guilan's wall paintings is important because of recognition of Guilan's art of painting and its origins. Gerard Genette’s transtextual theory has been used in order to answer the question of “what are the differences and similarities between holy shrines paintings and under-glass paintings” and the emphasize is on the Equality among works. Method of research is descriptive and analytic. Methods of library collecting contents are taking fiche notes and reading texts of pictures.  Results of analysis is qualitative. The results show that there is Intertextual, transtextual and hypertextual relations between Eastern Guilan’s holy shrine paintings and Under-glass paintings, also there is a Equality relation between Guilan’s holy shrine paintings and Under-glass paintings.

Due to the restriction of metal utensils throughout the Islamic period, pottery was a substitute, with many designs and inscriptions depicting religious and educational themes. Among the most notable potteries of Iran's Islamic period is the pottery of Nishapur from the Samanid dynasty. The designs and inscriptions on these potteries have passed on cultural and aesthetic knowledge from one generation to the next. According to intertextuality theory, no text is formed arbitrarily or without context but is dependent on previous texts or contents. The Islamic typographic technique has had a significant impact on contemporary Iranian typography. This research aims to examine contemporary Iranian logotypes through the lens of their Islamic connotations in Nishapur potteries. Another goal of this study is to look at the intertextuality types between these works (Travestissement and Pastiche). The research issue is the relationship between contemporary Iranian logotypes and Islamic typography. According to the studied works, the research hypothesis is based on the fact that due to the written form, there are many similarities between the two areas. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e., note-taking and image analysis) and data analysis was done qualitatively. The findings indicate that, in terms of similarity between Persian and Arabic written forms, the effects of Islamic art can be seen in contemporary Iranian logotypes. In other words, Islamic calligraphy has influenced contemporary Iranian typography. In many cases, the use of shapes and forms used in the typography of Nishapur potteries, such as plant forms can be seen in contemporary Iranian logotypes. Selected specimens in Neishapur potteries are written in Kufic script and case specimens are inspired by Kufic script. According to Genette’s intertextuality theory, all logotypes fall into the category of Pastiche intertextuality due to features such as changes in form, content, and the addition of new text.

The present study seeks to answer the question that what are the Rhombus geometrical signs in ancient Persian inscriptions and how they are similar to their reflections in contemporary Persian textiles. An attempt is made here to analyze the evolution of inscription signs by emphasizing the theory of evolution in the field of art anthropology. The purpose of the research is to express a part of the continuity of ancient Elamite linear signs on Persian rugs. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review and data analysis was done qualitatively. The statistical population of the study is Elamite tablets and Iranian nomadic and tribal rugs. Sampling method is optional. Linear specimens of pre-Elamite and Elamite inscriptions and visual specimens of woven artifacts have been collected by library methods. A comparative form has been used to express the similarity of the works, and the readings of linear symbols are based on Walter Hintz’s theories. A total of 10 linear Signs have been compared with similar motifs in 26 woven pieces. According to the results of the research, geometric motifs are the basis of the formation of many signs in the pre-Elamite and Elamite ancient inscriptions. The continuity of these signs is evident in contemporary Persian rug designs in that some of the rhombuses are motifs represented in the structure of rugs, while some appear with slight modifications. The relation of the composition of the inscriptional signs seen in the ancient writings and the contemporary Persian rugs can also be studied. The difference between the linear signs and the rugs’ motifs is that the rhombus signs are arranged on the basis of the structure of Elamite script in the inscriptions, but in contemporary Persian rugs these motifs are regular. Sequential or periodic iterations on the rugs background and margin have emerged, or their proportions have changed in such a way that sometimes a writing sign constitutes the whole rug design. Like framing designs or three-rhombus designs, the badges sometimes fill in the form of periodic and duplicate units of background and margin, and in some cases the single roles are accompanied by addition to similar badges on the lines.

In the 2021 presidential election, Typography is used as the main elements  of expression of meaning.  The present analysis deals with the relationship between visual and written signs in 2021 election typography and examines how the -Iranian identity is transmitted through the use of visual and written symbols in these works. The research method is descriptive-analytical. The method of collecting materials is a library through taking notes and image-reading. The results show that national identity is expressed in the text through the use of the visual symbol of the Iranian flag or the colors used in it.
That the Syntagmatic and Associative (Paradigmatic) relations between the visual and linguistic signs are seen in them. Islamic identity is also reflected in the Syntagmatic relationship between written signs designed based on Islamic calligraphy and decorative symbols of Islamic art in the design of electoral writings. The Syntagmatic and Paradigmatic relations  of visual and written signs in identifying the explicit and implicit meanings of writings designed in election advertisements are recognizable and effective in conveying meaning to the audience. The play between linguistic signs and the design of letters in the typography of the 2021 presidential election expresses  national identities, Islamic identities, individual and ideal identities

A collection of children's program Mixed logos that are translations of foreign logo films, including visual and written sign. The main question of the present study is what is the intertextual relationship between the Persian logo and the foreign logo of children's films? And what do the visual and symbolic symbols in these logos have to do with the content of the reference film? The purpose of this study is to analyze the effective pre-texts in designing the logo of the Persian children's program based on the weak (intertextualite Faible)and strong intertextual theory of Laurent Jenny. The research method is descriptive - analytical and collecting data is Combined research method via library studies and through note taking and reading image. Data analysis is qualitative. The research results show that there is a strong intertextuality between the Persian language and the film and the Persian logo of the film. The weak and strong intertextual relationship between Persian and foreign logo design can be examined in terms of color and form. Visual sign and colors in Persian logos are taken directly from the content of the film. Most Persian logos show a tendency to visualize and use many elements in logo design, while foreign logo have a minimal attitude towards the use of visual cues.

The manuscript of Nahj al-Balaghah belonging to the Safavid period is one of the treasures of the National Library's treasury of documents. of writing this work by the traditional way shows the visual knowledge of the calligrapher and his unique creativity in managing the written text. Its layout is written with distinct visual arrangements. The present study seeks to answer the question of what visual and semantic space creates a visual and semantic space in the audience in the manuscript of Nahj al-Balaghah belonging to the Safavid period and what visual principles and basics influence the creation of this sensory space. The hypothesis of researching the beauty of form and content in a linear work owes much to the heartfelt belief in Islamic-Shiite teachings as well as the creative use of framing and page layout management based on the principles of image organization to convey meaning to the audience Creating a relaxing and amazing atmosphere for the audience of the present age. The purpose of this research is to explain the semantic and visual aspects of influential page layout of Nahj al-Balagheh manuscript as part of the traditional graphics of the Islamic period. The research method is descriptive-analytical, the method of collecting library materials is through phishing and image reading. Based on the studies, it can be concluded: The creation of this manuscript by Shiite calligrapher is associated with love of beauty and enlightenment to the truths of divine existence and self-cultivation, and provides the background for the creation of aural writing on the page, the beauty of form in the Nahj al-Balaghah manuscript, it owes much to the use of conventional and creative frameworks formed the basis for the formation and management of writing. There is a harmony between gilding and writing in conveying a soothing sensory meaning on some pages. Visual arrangements follow the transmission of special meanings such as harmony and calmness, visual movement and effervescence, rhythm and rhythm, darkness and light, distance and proximity, contrast and contrast. The author of this work has used the principles of image organization such as harmony, contrast, balance, mastery, movement and proportion, to convey the sensory meaning, attract the view and visual guidance of the audience.

One of the most mysterious and extensive decorations of Islamic architecture, especially mosques, is geometric patterns. Studies on the history of the emergence of geometric patterns in Iranian art shows a six-thousand-year history. The present research seeks to answer what are the historical roots of the emergence of geometric patterns in the works of the Islamic period, and are these motifs contain implicit and sequential concepts. The purpose of the research is to express the historical background of geometric patterns in Iranian art and examine its possible implications. The main hypothesis of the study is the continuation of the life of ancient geometric patterns, especially Elamite’s works on the architecture of Iranian mosques. The research method is descriptive-analytical and collecting the contents is performed using a library method through note taking and picture reading; the method of data analysis is qualitative. The philosophers have attributed the origins of the emergence of geometric designs to Mesopotamian, Egyptian, and Iranian civilizations. According to this research, the fundamental geometric designs, decorating the buildings of the Islamic period in Iran, are related to the concept of fertility and abundance, and its history in Iranian art could be attributed to the remains art from the era of Elamite and the works discovered from the ancient site of Haleil River. In ancient Persian works, geometric patterns simply appear with the repetition of individual and single-shape elements, the combination of several geometric shapes are rarely seen together. The difference between these patterns and Islamic architecture is the emergence of diverse, mixed and extensive geometric shapes combined with Islamic philosophy of unity in plurality.

Islamic calendars are unique examples manuscript according to the appearance and content characteristics. They are valuable and considerable collections of Islamic art. This research was tried to answer these questions that; what is the evolution of appearance and content Islamic Calendars and, what is relationship between ancient Islamic calendars and contemporary calendars. The authors collected some manuscript calendars of Saljughi, Illkhani, Safavi, Ghajar and contemporary calendars and studied appearance and content characteristics of these calendars and their relationships. Principal hypothesis is of this research that there is a traditional illustration in Islamic calendars and their content. The main aim is to explain formal characteristics, aesthetic arguments and artistic characteristics of Islamic calendars. Based on the research results, old calendars of Islamic period associated with table and information was entered into it, and these charts have imitated of ancient Zigs (zig or zaeeche, astronomical table) from per Islamic periods. Numerical calendars were associated with the name of solar months (Houses of the Zodiac) like, Taurus, Gemini, and Cancer. Old calendars didn’t have any decorations, while the calendars of Safavid period were decorated and illuminated. Lastly calendars are simple without decorations due to the printing industry; these calendars have the same structures of ancient calendars.