فهرست مطالب sajedeh nikian

Examining the national emblems of Iran, with an emphasis on visual metaphors, revealed several aspects of them. Identifying the types of metaphors and their mode of presentation is an effective factor in detecting the level of tension between their origin and destination and a way to identify the level of communication in them.Examining the practical and communicative dimension of metaphors and their effects on the audience can be used as the main indicator of logo design.Through this study, it is possible to consider the greatest impact on the audience through metaphor-making and illustrate the level of communication with them. The study of synthesis and proximity metaphors in two emblems revealed that the sign of lion and sun needs less explanation and elaboration in order to understand due to their destination in the world and benefits from less complexity than more composite visual metaphors. Therefore, it is easier to understand the concepts in this sign, and it is easier to communicate with them. Analyzing the concepts reveals the themes and national meanings that can be extracted from the sign of the lion and the sun, which include: the importance of Shiism and the place of imam Ali (peace be upon him) in the beliefs of the Iranian people, the power and sanctity of the king, courage and protection of the country, unity and victory. Blessings, fertility, peace, etc.The emblem of the Islamic Republic is more intense compared to the lion and the sun, and for this reason it will be more difficult to understand and the relationship with it is more complicated, but it needs less explanation and elaboration due to the mode of display of . Metonymy. In the national emblem of the Islamic Republic, the following topics, meanings and dimensions can be understood: the importance of Islam, religion and monotheism in the country, guarding and defending the country, the important position of the Qur'an and the Prophet of Islam as the bringer of the book, the desire to learn Islam in the world, etc.Finally, the study of signs in these two periods indicates the simultaneous use of two types of metaphor and metonymy through principle of constitution and syntagmatic one . The use of metaphors helps to convey the required concepts and purposes to the audience through images and to make communication possible through them. Comparing the two emblems of the Qajar and the Islamic Republic from a metaphorical perspective, shows the difference in their attitudes in choosing the type of governance. The Qajar rule, a government with the rule of the kingdom and the Islamic Republic,has placed God's rule in the center of its circular emblem. One is interested in the domination of the monarchy, and the other is the desire for the universalization of Islamic rule throughout the world. The communication of one is faster and more immediate due to relying on more familiar elements, and the second requires more explanation and elaboration from the angle of combined metaphors.It communicates later and is still more effective.

The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political discourses. The differences of emblems as a part of the discourse or the visual effect of a discourse may return to the specific way of that visual effect or be interpreted as a certain political tendency. Discourses consistent with the symbol of the lion and sun are patrimonial, royal, and national identity discourses based on historical past and religious identity. This emblem is indicative of the ideals of ideological traditionalists, as an attractive visual aspect of religious discourse. In this way, any emblem that represents the visual dimension of the discourse of Sunnis or other religious minorities is removed, or rejected by displaying this symbol in the ministries, press, publications, etc. The discourse of the Islamic Revolution is a reaction to the absolute modernism of the Pahlavi period. The discourses that arose in the Islamic revolution included strategies and conflicts such as class struggle, exploitation, and struggle against imperialism and colonialism. This discourse resists the field of power that the Orientalist and Middle Eastern discourse that Westerners create. The comparison of the Qajar and Islamic Republic emblems shows the difference in their attitude in choosing the type of governance. The Qajar rule wants to dominate the empire and the other wants to spread Islamic rule all over the world.

The aim of the research is to study the structural elements of the Pahlavi emblem and the Republic of China through descriptive-analytical method, based on comparative studies, and content analysis. By means of reflective schemas to determine the extent of the application of symbols and meanings and concepts called to find common themes and ideals or to extract the cultural differences and political covenants of these two countries within a comparative approach in a determined period of time.Since the two countries of Iran and China have had extensive communication and significant cultural and artistic relations through the Silk Road, and the perceived integration between Buddhist and Islamic arts, the attitude of the two countries on the basis of several thousand years of civilization, in choosing and designing their prominent national emblems in a specific time frame, can be significant and offer important insights.The question is How and to what extent have these two countries used symbols for the design of national emblems, for the purpose of directing political covenants and moral themes, etc., in the same period of time? Results In the present study, it was determined that national emblems are representative image sources of a country that are influenced by its history and culture. In this research, the structure of reflective schemas and meanings of symbols in the emblems of the First Pahlavi and the Republic of China based on the importance of such schemas, have been examined. According to reading of Kant, reflective schemas are extracted from reflection on spatio-temporal dynamism or dynamics of a being, animal, tree, etc. Considering the existing structural similarities between the two emblems, it is possible to compare them.Both emblems are made of natural elements - heavenly bodies, mountains, plants and animals - and tools; Lion, dragon and Feng Huang as animal elements, oak branch, olive and rice as plant elements, heavenly bodies such as the earth, sky and sun, moon and stars are also depicted in national emblems of Iran and China. Besides these natural elements, sword, crown, axe, Zongi (golden cup) etc. are among the tools incorporated in the designs of these emblems. Therefore, there can be structural similarities between the two.Although both emblems share similar structural elements, but the Chinese national emblem showcases more ritualistic motifs, more natural and animal elements, and contains allusions to the Chinese astrology by depiction of elements such as fire, water, wood, metal, plant, and earth; the earth in the form of a mountain, rice embodies water etc. Mythological elements and ornaments of the imperial dress can also be seen in the Chinese national emblem. In lion and sun emblem of the first Pahlavi, religious elements are depicted, but compared to the Chinese counterpart, it has less natural, animal and plant elements. The earth is not included in the Iranian emblem. Apart from the sword, which can be a sign of the crescent moon and of course Islam and Shiism, there is no trace of other heavenly bodies. Oak and olive can be considered as symbols of plants and water. The crown is the symbol of the king on the top side of emblem. In the Pahlavi period, the feminine power is not showcased in the design of the emblem.The study goes on to compare the meanings and concepts in the two symbols. In the sign of lion and sun, for example, the element of lion can be seen as a reference to the power of the kingdom. But the two animal elements, dragon and Feng-Huang, refer to two royal characters, the king and the queen, which show complementary forces of yin and yang that are eternal. Meanwhile, the sun in the lion and sun emblem again, refers to the king, and there are no feminine symbols to compensate as the queen. Also, oak and olive plant branches in Pahlavi's emblem represent concepts such as longevity, unity, security, victory and peace, but the plant element of the Republic of China, which is the rice spike, is a reference to the importance of earth and agriculture in Taoism and rice’s crucial significance in Chinese culture, and the work, effort, toll that goes into the production of rice as the singular most recognized product of China. Although the sword in the sign of the lion and the sun is associated with guarding and protection, it also refers to Shiism and the revered regard for Imam Ali (pbuh) among Muslims. The axe is also associated with the concept of grains and their protection. Also, Zongi, in Chinese symbolism, can carry meanings such as purity, spiritual growth, and is a symbol of the emperor's virtue in loyalty and filial piety. In examining the lion and the sun, several concepts such as resistance and authority, unity, the importance of royalty have been revealed. In the Republic of China’s emblem, the induction of concepts such as the importance of religion, the importance of earth, agriculture and natural elements in accordance with Taoism, unity, blessing and fertility can be detected.Therefore, it can be concluded that both signs, while referring to numerous material concepts, have also placed religion and moral themes in the center of attention. The lion and sun motifs is a declaration of nationalistic goals such as the importance of the king and the royal position, the importance of religion, ideal concepts such as security, unity, longevity, victory, peace, hope, blessing, guarding and protecting the country. The national emblem of the Republic of China also shows similar messages as the emblem of the lion and the sun, although more, which include the special position of the king and queen, the importance of opposing yet complementary forces, the sacred position of Taoism, and ideal concepts such as authority, blessing, immortality, unity, happiness, longevity. Both emblems have showcased cosmic symbols. Both bring to life the concepts, topics of morality or religious principles. The emblem of the Republic of China, is inspired from the old decorations of the traditional imperial dress, which in turn depicted the emperor as the symbol of the son of the sky, and referred to the teachings of Confucius and his twelve moral commandments that the emperor embodied in order to be a just ruler. Therefore the emblem of Republic of China implies that a good prosperous country with instructive policies is achieved only through an authority that follows moral codes as its principle policy. In first Pahlavi’s national emblem, such moral symbols are not much showcased, but mostly concepts such as chivalry, bravery, and good fortune and good omens are emphasized, with a focus on Imam Ali (pbuh) as the embodiment of morality and courage.

Considering the importance of metaphors in the design of the second Pahlavi royal emblem of Iran and Britain, the question is: What is the impact of visual metaphors on comprehending the final beauty of the two royal emblems? The goal and path is based on the analysis of structural elements to advance towards identifying the type of visual metaphors and their aesthetic features. It is a comparative  research with a descriptive-analytical method that enumerates the similarities and differences. The method of data gatherig is library information collection. The research approach is based on the theorists in cognitive and aesthetics field of research. After considering several elements in the royal emblems of the two countries, the similarities between the two emblems are as follows: in the center of both emblems, the image of a shield can be seen, which consists of four parts. In the second Pahlavi emblem, the national signs of the Achaemenid, Sassanid, Islamic, Qajar  periods can be seen around the first Pahlavi one. The British royal emblem also shows the image of the three lions of England in the first and fourth quarters. The Scottish standing lion also belongs to the second quadrant and the image of the Irish harp also belongs to the third quadrant. The use of crown and lion is also one of the similar points between both Iranian and english emblems. Both of them use mythical animals or hybrid creatures such as phonix, Farvahar and unicorn. Both of them have supports or ribbons with a royal slogan placed in the below section of the emblems. Justice in the second Pahlavi emblem is like a divine gift to the king. In the British emblem, the kingdom is a kind of divine entitlement from God, which is given to the king as a judge. The differences are as follows: the emblem of Britain uses its belt and along with the buckle instead of hanging on the cross or Mary's ascension. It can be seen in the Pahlavi emblem by means of a chain, and also the vine leaves around the shield, the torpedo mouth arabesques, and the flower motifs are among the decorations of the Pahlavi emblem. Thistle (symbol of Mary's virginity and Christ's crown), Theodore's rose (symbol of the union of the houses of York  and Lancaster) and clover (symbol of St. Patrick) are among the decorative elements of the British emblem. The rising sun in the center of the Pahlavi royal emblem is not seen in the British. The final difference can also be stated in the placement of two guard lions around the Pahlavi emblem and the placement of a unicorn and a lion in the British one. The second pahlavi emblem has more  hybrid creatures, while the unicorn is the only mythical creature of the British emblem. In the emblem of Britain, the helmet of the knights can be seen and it suggests a human whose body seems empty, while in  the second Pahlavi one, it is more difficult to recognize such a thing due to the lack of leaves to suggest hair. The origin of metaphors in the second Pahlavi royal emblem shows the following purposes in order. Crown implies the material concepts such as royalty and kingdom power, shield  states guarding the country and the sword indicates spiritual concepts such as the importance of Shiism. The lion shows the purposes such as protection, courage and Imam Ali (peace be upon him). Farvahar means divine and spiritual forces and indicates the Achaemenid period, phonix (simurgh) states the cosmic and supernatural forces and suggest Sassanid era, Damavand implies the mythological and Pahlavi era of Iran. Blue, yellow, and red colours, respectively, choose the brightness and spirituality; wisdom and blessing;  happiness and prosperity as their destinations. Origin of Metaphors in British Royal emblem show the purposes as follows: crown implies the spiritual growth and enlightenment, golden helmet indicates the Royal family and chivalry, standing lion means the king and guardian of the worldly force, the horizontal lion implicates the power of the kingdom, the unicorn indicates Christ and Patron, the belt shows the power-covenant and ascension to heaven, three horizontal lions decision making- foresight, also is the sign of England, harp shows spiritual growth -Irish Gods and country, the Standing Lion indicates broad-handed and long-armed, also indicates Scotland, full shield; is a sign of Great Britain and the United Kingdom. Metaphor in white, red, yellow, blue, green, red and white colours, respectively, implies purity and innocence; lordship and virtue of ruling; The power of the sun and blessing-kingdom; spirituality-spiritual growth; life and immortality; The union of the kingdom (York and Lancaster houses in past and two other contries in present) is the destination.From the common purposes of the two emblems, the need to confirm religion, guarding and protecting, and the importance of the kingdom's power on earth, and the importance of the king are inferred. In the Pahlavi emblem, different historical eras and their unity are understood, while in the royal emblem of the United Kingdom, the united countries are more important than the historical period of England itself. The spiritual dimension is more prominent in the emblem of Britain. It is as if more universal concepts are needed to unite different countries. In the second Pahlavi emblem, the historical dimension is more specific, because the Pahlavi period brought together all the proud historical periods in the emblem. The results show that the similarities of structural features is greater than the differences between the two emblems. From a content dimension, the emblem of Britain is more fruitful in terms of the multiplicity of elements. The meanings of each of the elements in the emblems are affected by the political and religious conditions and the cultural and historical precedents of that country.The comparison of the beautifying characteristics, shows that the more visual metaphors, the more complex the design seems to be, and the audience faces more tension and more defamiliarization. The greater the unity or harmony, the greater the possibility of entering to the threshold of beauty. In the emblem of second pahlavi, substitional metaphors are almost equal to combinational metaphors. In terms of unity, the repetitive designs such as damavand, lion, sword, yellow, and colours like blue show the Pahlavi emblem as coherent and unified. In this design, complexity is more important than unity. In the emblem of Britain, the substitional metaphors are less than the combinational type. The combinational metaphors cause the unity of discrete parts or components.For example, in the emblem of Britain, the helmet, the shield and the belt together evoke a royal body and there is less tension in finding the final destination. In this emblem, unity as a beautifying charactristic seems a little stronger than complexity. The results show that the discussion about beauty is not solely dependent on the harmoy of the shape and form and colours of emblems or works of art. The conceptual and meaningful dimension also plays an important role in the distinguishing of beauty. The harmony of whole composition and holistic content is realy determinant.  The beauty of visual  metaphors includes both harmony and complexity of formal and content aspects. The historical precedence of the design and construction of the emblem of Britain (from 1837 up to 1952), the structural similarities between the two emblems, reveals the possible influence of the second Pahlavi emblem from the of Britain, although in the design of both emblems, different components with historical, cultural and political themes are understood. Through the study of emblems, it becomes easier to identify the direction of their relation in the future due to important agreements and goals from structural, content and aesthetic aspects. Finally, the study of the royal emblems of two countries makes it possible to identify the perspective of the today goals and future covenants.