جستجوی مقالات مرتبط با کلیدواژه "نشانه شناسی تصویر" در نشریات گروه "هنر و معماری"

In the Imperial Mughal painting, there are many monographs of the portraits of the king, royal family, courtiers, and kings and ambassadors from other countries. The political relations between the Safavids and the Mughal are often accompanied by friendly engagement. The influence of these relationships in the Mughal's art can be found from the inspiring of Iranian painting techniques to illustration the Persian literature and the depiction of the portrait of the Safavid kings and ambassadors. This article studies a painting named Jahangir's Dream by a painter in Mughal court in India, and attempts to find out some contemporary meanings of this text by applying the symptomatic approach and visual semiotics methodology. Also, by using some comparative and contextual information that has been grasped by some contemporary verbal and visual texts with this painting, we could get into the unconscious layer of this text and what the text has denied saying them explicitly because of ideological repressions. This painting that was drawn after the siege of Qandahar by the Abbas I king of Iran. Composition of this image is a metaphoric structure such as more paintings that was drawn by the Jahangir's order, in spite of narrative structure that was common during his father Akbar's reign. For analyzing this image, social visual semiotics was selected as the method of research; and according to three metafunction which descript in this method we have done. Results from analyzing the Jahangir's Dream with have been shown that there are some Ideological signs with metaphoric functions in this painting. Have been found contradictory semantic implications that helped us understand the unconscious thought of the text. In this visual text has been tried to illustrate Jahangir as a superior ruler versus Abbas. At the first look deference between their garments attracts the audience attentions. The whit turban of him with contrast by gold halos round his head salience him. Jahangir as the active agent of the sense embracing Abbas, staring at a distant horizon and Left unanswered the eager eyes of Abbas. We could classify participants of this image in tow group, first of two is composed of Jahangir and Abbas and the second composed of lion and ship that lying on a globe with a detailed map. The lion under the Jahangir's foot that in this text Because of Companion Interpret as the metaphor of Mughal's territory push back the ship - metaphor of Safavid's territory- from Qandahar and even more so inside center of Iran. In conclusion, can be said which enmity and hypocrisy with a powerful neighbor and ally who recently attacked a part of their territory is a political position that is not politically in favor of Jahangir and seems to be repressed, but this desperate desire through contradictions and gaps this text is visible. The reason of Jahangir's claim of a friendly relationship between himself and Shah Abbas I, leastwise after Qandahar's story, could be his need of a strong confederate in the region, and his lack of enough power to resist against it, not his true will.

Firdausi Shahnameh has been illustrated more than any other literary work in the history of Persian paintings. So far, many studies have been carried out on these historical paintings of Shahnameh. Most of these studies have been formalistic and have been considered to be merely representational works of written text. Those studies have been focused on form, performing techniques and style classification. Another aspect has been the field of semantics and their aim has been to obtain the semantic signification of these images by usage of Iconology or Semiotics. This research that stay on second group, Tow paintings about Alexander story from Firdausi Shahnameh have been chosen one of them related to Mongol period and another one is from Safavid period. This legendry story is about a neighbor nation that asked help of Alexander to assist against the Yajoj and Majoj –a wild people- who rushing to their territory every time, at least Alexander in cooperation with them, built a steely barrier against the aggressors. According to subject of this story which focus on social and political relations between sovereign, people and neighboring nations; Social visual semiotics has been applied to analyze the pictures. Social visual semiotics is a method to get image's meanings, in social function concept. In this way, the composition is used to interpretation the semantic signification not aesthetics. In order to explain the meaning, it will be referred to external factors of the text such as, the cultural, social, political, and the other contexts too. Eventually, we want to consider how the image in relation to the dominant discourse becomes a mean of power. Governors in order to legitimize and stabilize their power, utilized the propaganda in different ways, Of course art was the one of important media for propaganda. On the other hand, Persian painting, artworks were created with time and result in high costs; Therefore artist was always in need of a powerful patron. In other words, the Persian painting was the court art, resulting in the formation of attitudes and desires of the dominant power that had affected. For example, Painters at both picture, apply the rhetoric devices in best way to show their sovereign instead of Alexander in metaphorically format. Findings of present article state that these paintings that are located contiguous the written narrative of the Shahnameh have independent synthetic and is not only added to the text; Also in their terms had have social functions. In fact, Results from studying this paintings showed that these pictures which are diachronic and intersemiotics translations of the written narrative of the Shahnameh in the rejection and attraction process of translations own up, those aspects of Alexander character that were desired. Scene selection and composition pattern were the targeted choices at the aim of transmission ideological message of producers of the text in order to legitimize and stabilize its power. Both of the pictures reproduce the same mythological story, but, by the difference between the selections of the visual signs and the composition, each of them proposes a different discourse that is agree with the patron's aims.