جستجوی مقالات مرتبط با کلیدواژه "appropriation" در نشریات گروه "هنر و معماری"

Francis Bacon's painting Study after Velázquez's Portrait of Pope Innocent X, inspired by Diego Velázquez’s Baroque masterpiece, stands as one of Bacon's most iconic reinterpretations. His decision to reimagine this emblematic work raises questions about his motivations, the evolution of the piece, and the boundaries of its interpretation, particularly through a psychological lens. This study employs a slightly modified version of Terry Barrett's art criticism methodology to uncover the hidden layers of meaning in the painting. The findings suggest that Bacon’s depiction of the Pope represents a symbolic opposition to all that he himself embodies. By binding the figure to a chair, subjecting it to humiliation and torment, Bacon appears to enact a form of revenge and assert his dominance. The connection between the Pope figure and Bacon stems from the complex dynamics of his relationship with his father. Through this work, and his distinctive artistic methods—such as drawing inspiration from cinema and photography—Bacon transforms the Pope into a symbol of the persistent threats to his identity and desires, delivering a powerful message of defiance and animosity.

Postmodern art became art to deconstruct the hidden ideologies of the discourse of power for socio-political purposes, such as the struggle against the masterpieces of art, against heroism, against gender discrimination and racism. In this period, a broad effort was done to address social issues and problems concerning inequalities related to class, race, gender, and ethnicity and... to people involved with these issues. This critical content chose different ways of expressing itself; from a realistic presentation to a copy, an eclectic work, ironic references and “Appropriation" works of art that at first glance is accompanied by humor and parody. Appropriation means using or adapting pre-existing works of art and borrowing them to create a new work. At this time Appropriation for a specific purpose was an action that could not be avoided in the postmodern-centered state of contemporary art. The 1960s saw the emergence of a process that allowed artists to adapt and self-create other artists' works without modification or by slightly modifying or inserting parts of other people's artwork into their own, with the goal of substituting their own voice for another voice, thus opening a new meaning instead of the previous one. Since then, art of Appropriation has peaked in the 1980s, and today the widespread use of image capture in the creation of works of art has become commonplace. The contemporary era seems to have introduced artists to the world who were eager to reinterpret and re-represent these paintings in order to expose lesser-represented cultures and elevate excluded minorities to the center of discourse. Since the late nineteenth century, African American artists, with a return to the historical past and the use of black heroes and their epic and revolutionary ideas, and under the influence of political and social events, with their works of art to fight against racial colonialism. And painted a bright future for the black nation. But today's art is different from what we know as black art in the second half of the nineteenth century and the first half of the twentieth century. This study, in order to answer the question of the role of images in deconstructing aesthetics and deconstructing the power structure, focuses on postmodern art and critically analyzes the works of African American artists on the subject of "Appropriation" of famous works of art history. Consequently, among the goals of artists in this way of representation is to focus on excluded minorities, to emphasize the fine arts as something beyond nationality and race, to create a counter-narrative, to deconstruct the power structure, to empower blacks in culture. This research is based on descriptive-analytical method, and data collection is desk-based.

in 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures shone in various fields including painting, and among these artists, the works of the famous artist Mohammad Siah Qalam follow an original and different way of painting. For some time, he was in charge of the library of Amir Ali Shirnavai, a prominent poet, scientist and politician of the Timurid era, and he painted and drew and later chose a special style of drawing and illustration for himself. Many researches have been done regarding the identity and characteristics of Mohammad Siah Qalam’s works, but the role of adaptation in artistic creations from Mohammad Siah Qalam’s works by contemporary artists has been less researched. This research tries to examine the works of two artists, one Iranian and the other British, i.e. Ahmad Aminnazar and Richard Bartel, to deal with the methods of extracting black ink works in the works of these two artists and to answer the question of what ways the artists under investigation use their works. Black ink has been affected. Based on the findings of this research, the examined artists have been most influenced by black ink works in areas such as terrifying atmosphere, limited color selection, setting )space( solitude, concentrated composition, appearance characteristics and Grotesque atmosphere. In the meantime, Amin Nazar used a different linear drawing method and Bartel did not follow the black pen and chose a different method in polyhedral drawing and shading. In 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures shone in various fields including painting, and among these artists, the works of the famous artist Mohammad Siah Qalam follow an original and different way of painting. For some time, he was in charge of the library of Amir Ali Shirnavai, a prominent poet, scientist and politician of the Timurid era, and he painted and drew and later chose a special style of drawing and illustration for himself. Many researches have been done regarding the identity and characteristics of Mohammad Siah Qalam’s works, but the role of adaptation in artistic creations from Mohammad Siah Qalam’s works by contemporary artists has been less researched. This research tries to examine the works of two artists, one Iranian and the other British that is, Ahmad Aminnazar and Richard Bartel, to deal with the methods of extracting black ink works in the works of these two artists and to answer the question of what ways the artists under investigation use their works. Black ink has been affected. Based on the findings of this research, the examined artists have been most influenced by black ink works in areas such as terrifying atmosphere, limited color selection, background )space( solitude, concentrated composition, appearance characteristics and Grotesque atmosphere. In the meantime, Amin Nazar used a different linear drawing method and Bartel did not follow the black pen and chose a different method in polyhedral painting and shading. In the 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures in various fields such as multifaceted painting and shading did not follow black pen and chose a different method

Periods of Iranian painting, including realistic and academic painting, were postponed after the advent of modern painting in Iran. Copying the works of their predecessors, which was one of the prominent methods of these masters of painting, was highly condemned and persecuted. Hence, even with the emergence of new approaches to contemporary art and postmodernist practices such as “appropriation”, there is still much resistance to accepting and understanding such works. What can be deduced from the study of the works of Iranian artists from ancient times to the present day is that before modernism, using images of the past and copying the works of past masters have never been reprehensible in Iranian art, but has facilitated the way for mastery and becoming an artist. From the prominent traditions of Iranian art, from painting to the school of Kamal-ol-Molk, re-drawing on the images and works of former artists has always been important, and in this way, the methods of artists have always been different. Some made exact copies and remained faithful to the original work; One of the notable points in this matter is the fact that the artist's copy and signature are not covered, which is one of the approaches of postmodernism in owning and “appropriation” of a work. This study, by studying the copied works in the two periods of Persianization and then the period of Kamal-ol-Molk and the school of Kamal-ol-Molk, has examined the possible similarities with the “appropriation” approach in these works.In order to reach our goals of research, here, we have formulated two main questions: (1) why and how the painters from these periods have made copies of their predecessors’ works?  and (2) is it possible to have a new interpretation of their works as a way of modern concept of “appropriation”? What was lost was the presence of signs of the application of the goals and functions of the appropriation approach in these works. Therefore, according to the personal signatures of these artists on the copied works with similar methods of appropriation and keeping them in museums, it is possible to have a new approach to such works.This research has been formed by studying, reviewing and collecting the works of Westernization as well as the works of Kamal-ol-Molk and his students. The research method was descriptive-analytical and the method of collecting data and materials is that of desk study. In this research, the collected works have been analyzed with the approach of copying and matching with the original work of previous artists, and the presence of some functions of appropriation in these works has been investigated. For this purpose, a number of original works have been brought to better understand the audience. In this way, the methods and functions used by this generation of Iranian artists have been well visible and debatable and studied. It was not possible to present all the found and existing works in the history of Iranian art in this short article, therefore we have studied only a few that were in line with the objectives and division of the research and had the most similarity with the methods of appropriation.What can be seen today in contemporary art can be a follower of painting, Westernization, or the methods of Kamal-ol-Molk and his students. Therefore,  appropriation and the use of previous images have never been a new and fresh idea in Iran, and designing and making continuous copies from generation to generation from the work of prominent masters have been the method of work of all Iranian artists. Adapting and looking at pre-existing and popular images have always been commonplace, and as we have seen, repetitive forms and themes have been repeatedly represented and copied in Iranian art without detracting from the value of the old work or deeming the new work worthless. What is important is to keep all the copied works in museums and private collections of the world, although the idea and original design of none of these paintings, drawings and designs are from the artist himself, but like the original work, they have sought their luck and glory in the world. Iranian artists have unhesitatingly exploited and represented the works of former and Western artists to recreate them. What emerges from the study of the works in this study is the clear evidence that the methods of these artists are similar to the functions of the approach of appropriation in contemporary art. It seems that these artists had come to believe that in order for Iranian painting to continue, it is necessary to explore the world of European painting and to give it a chance to enter into dialogue and interaction with the world of Iranian painting and open a new path for Iranian painters. Perhaps it can be said that these artists understood the importance of appropriation for the continuation of painting in Iran.

Philosophical hermeneutics has tried to change the systematic problem of aesthetics to the question of artistic experience and to avoid reduction to the aesthetics of the subject. the metaphor of the play a prominent role In this effort. Unlike Gadamer, with the theory of appropriation, Ricoeur places all the possibilities of hermeneutics in the path of interpretation and self-understanding. Understanding occurs from the tension between distancing and self-understanding In other words, the interpretation of the text occurs in the self-interpretation of a subject who understands himself and his possibilities better after the interpretation. The purpose of appropriation is to give new capacities in a new scope for self-knowledge. Using the metaphor of the play, in addition to the transformation of the subject, he also prioritizes the transformation of reality and the author over the transformation of the subject. The metaphor of love also has a similar function in the transformation of the wayfarer and his world in Attar's mystical experience to approach the truth. Can the metaphor of love be equivalent to the metaphor of play (festival, celebration, ritual, mourning, dance, etc.)? Since the narrative of the experience of the love event has a much longer life than the event of the play and is more solid and concrete to understand the interpretation, can mystical love be considered equivalent to the hermeneutic play in the experience of the work of art? Comparing the two metaphors of love and play opens a way to better understand both in interpretation.

Problem statement:

Aydin Aghdashlou He is one of the artists who has always looked at the past and the art of his predecessors to produce and create his artwork. Therefore, the main part of his artistic activities has been redrawing and testing himself on the paintings of previous artists. The subject of a part of Aghdashlou’s retrospective artistic activity is the subject of European art, especially the Europe of the Renaissance period. Although the reproduction of Renaissance portraits in Aghdashlou’s paintings has always been a subject of discussion, most of which are based on local and traditional views and concepts. This is while the postmodernist concept of “appropriation “ provides us with a completely new insight and a suitable perspective so that we can get a new reading of this artist’s working method. What are the most important functions of the “appropriation “of Renaissance portraits in Aghdashlou’s paintings?

This research aims to identify and explain some of the most important semantic aspects hidden in recalling and rereading these classic works while studying the Renaissance portraits of Aydin Aghdashlou and showing the connection between his painting style and the postmodern concept of “appropriation “.

This article employed a descriptive analytical method and used the concept of “appropriation” The data required for the research was collected by the library method and analyzed by the qualitative method.

The results of this research indicate that Aghdashlou’s Renaissance portraits can be classified under three main categories based on the applications of the “appropriation” method 1) Admiration of Renaissance portraits 2) Distortion of Renaissance portraits 3) Destruction and restoration of Renaissance portraits. Under the first category, Aydin Aghdashlou wrote down the predecessors and artists of the Renaissance by simulating and performing religion in the title of the work. In the second part, the manipulation of the Renaissance portraits has been done to change and transform the essence of the work slightly, move away from its reality, and create something more than a pure re-drawing. Under the third function, the works of Aydin Aghdashlou are placed, which have repeatedly reproduced the works of previous Renaissance artists.

In today’s world, many artistic texts are produced with the appropriation approach and based on rereading the previous known works. Although these contemporary texts borrow the previous texts and provide a new reading of them, in fact they reproduce their society’s discourse, i.e. the contemporary discourse different from the past work’s discourse, hence creating a new meaning of the previous work in the framework of the contemporary discourse. Accordingly, numerous texts have been created by Iranian and non-Iranian artists with appropriation of Iranian paintings, particularly from its peak period, i.e. the Timurid and Safavid eras (9th and 10th centuries). Kamāl ud-Dīn Behzād is the most well-known Iranian painter who lived in the Timurid and Safavid eras, with works extensively read in the past and today. Behzād is one of the few Iranian artists praised both during his life and after his death owing to the creation of pure and innovative paintings aligned with his society as well as his special view of the world around him.Looking at the same characteristic of Behzād, Soody Sharifi, a contemporary artist with many texts taken from Iranian paintings, has reread some of his paintings with a critical approach and accordingly discussed some socio-cultural issues in Iranians’ past and present history, two rereading works of Sharifi in the Maxiatures series are among which.The present research is aimed at analyzing the discourse of Behzād’s Timurid paintings, Sharifi’s contemporary texts, and the link between them, as well as answering the questions below:1. What discourse of their society do each of these paintings and texts reproduce?2. What is the link between Behzād’s paintings and Sharifi’s texts based on their discourses and historical distance?The research is conducted with a fundamental goal and by an analytical-comparative method. The hypertextual reading of paintings and texts is with the approach of Fairclough’s critical discourse analysis and based on an interdiscourse adaptation. The data and images of paintings and texts have been collected by taking notes from library and internet sources. Moreover, data analysis is qualitative.Decoding and deeply understanding artworks, particularly those connected with each other, increase the necessity and importance of addressing these texts with a discourse approach, and achieving this goal depends on knowing the artistic traditions, society, history, and culture in which the artist lived and initiated creating art.According to these research results, Sharifi has considered Behzād’s paintings as historical documents of the reality of Iranian’s past society and traditions, and in their appropriation, given her familiarity with their literary-artistic background, cultural-social context, and past traditions, she has paid attention to the paintings’ theme and content along with taking a formal structure with a cultural-critical approach. Through these appropriations, Sharifi has addressed the tension between old and new values or traditional Islamic society and modernity to challenge the Iranian contemporary Islamic culture in connection with the relationship between men and women, the women’s position, and the youth’s confusion.

Postmodern art is characterized by several distinctive features, one of which is appropriation. This concept is closely intertwined with intersexuality, establishment of intertextual relationships, negation of authenticity, and decentering of meanings. Numerous artists, among them Glenn Brown, find inspiration in historical epochs like the Baroque and Renaissance periods, infusing these influences into their own artistic creations. This study embarks on an exploration of notion of appropriation in Glenn Brown's portraiture. To achieve this goal, we will commence by offering definitions of postmodernism and appropriation, followed by a thorough analysis of five portrait paintings by Brown through lens of this perspective. This research adopts a descriptive-analytical approach and leverages digital versions of internet articles, along with the original digital copies of the artworks for image compilation. From Glenn Brown's extensive body of work, we have handpicked five appropriated portrait paintings for in-depth examination. The concept of appropriation emerges as pivotal postmodernist approach in realm of art. This concept entails artists borrowing, altering, and reshaping elements from pre-existing sources. During this creative process, artists draw upon elements from historical and contemporary texts, popular culture, advertisements, mass media, and even works of fellow artists, integrating and transforming these elements within their own creations. These transformations can encompass altering original meanings or engendering striking collisions of ideas.In addition to being evident in all forms of visual art, spirit and philosophy of postmodernity have introduced new materials and tools, alongside technology, into many works of visual art. Postmodernism in visual art not only manifests itself in artworks but also introduces new materials and tools, frequently reshaping landscape of modern painting. In postmodern painting, influence of past modernist movements is discernible, and conceptualism is acknowledged as significant characteristic. Postmodern painters reevaluate artistic values of the past and present textual content in their works to audience anew. This form of painting is a result of neo-expressionism, conceptualism, and pop art, but it offers a new artistic experience with an emphasis on viewer participation, structural disruption, and semantic complexity.The portrait genre has manifested in various ways throughout history of visual arts, at times within realm of two-dimensional art such as drawing and painting, and at other times by delving into three-dimensional space and sculptural expression. "Portraits serve diverse functions and are presented through various media. Painting is the most prevalent medium for representation of portraits.In the United States and Europe, the creation of portraits declined during the years between 1940 and 1950 due to greater focus on abstract and non-figurative art. However, with advent of postmodern art after the modern era, portraits lost some of their traditional functions and underwent transformations in style and media. The years between 1960 and 1970 marked a revival of portrait art, with artists like Lucian Freud and Francis Bacon creating significant paintings. Many contemporary artists, such as Andy Warhol, Alex Katz, and Chuck Close, shifted their attention to portrayal of faces. Glenn Brown is another contemporary artist who has displayed a unique perspective in the realm of painting and portraiture.Glenn Brown, a contemporary English artist, has been actively engaged in realms of painting, design, and sculpture, and has been subject of individual exhibitions at prestigious institutions. As a multi-disciplinary artist, Glenn Brown draws inspiration from a diverse array of artistic sources, encompassing painting, film, literature, and music, which he seamlessly incorporates into his paintings. His body of work can be broadly categorized into three primary groups: paintings rooted in appropriation of famous artworks and historical painting techniques, scientific-imaginary paintings, and sculptures. In context of this article, our focus will be directed towards providing an overview of Brown's works that fall within the ambit of the first group.In Rembrandt's portrait, which is created in the Baroque style, the color palette prominently showcases earthy tones of brown and ochre, leaning towards a sense of warmth. The subject's face is gently bathed in soft, warm light, crafting a subtle contrast. In contrast, the lower portions of the canvas, including the subject's attire and the background, are rendered in deeper shades, thereby emphasizing a sense of darkness. However, in Glenn Brown's artwork, the portrait exhibits characteristics that diverge from Rembrandt's work.ConclusionThe emergence and evolution of postmodern art have been shaped by numerous factors, with its origins often traced back to the late tendencies of modern art. Among the postmodern artists who have harnessed the revolutionary and transformative aspects of new painting styles during this era, Glenn Brown stands out. Through the adept utilization of appropriation as a tool, he engages in satire and mockery of the formalism and structuralism prevalent in pre-postmodern and pre-post-postmodern art. By combining, altering, and amalgamating elements within his works, he fundamentally reconfigures the structure, which is subject to adaptation. In doing so, he highlights issue of negating artistic authenticity in a novel and thought-provoking manner.

Problem statement:

 Contemporary art has developed various outcomes and phenomena that do not comply with traditional artistic norms. One of these emerging phenomena in modern art is “appropriation,” which has piqued the curiosity of numerous artists. Artists today are also art consumers, in addition to their cultural activities. In this regard, “appropriation” may be seen as a contemporary art strategy for returning to the past, using pre-existing motifs, and reproducing works with new concepts. This approach has gained popularity among Iranian artists at the same time as it has in the Western world.

This research aims to observe, examine, and evaluate contemporary Iranian art, mainly the works of modern Iranian painters, to investigate the idea of “appropriation” and identify its ways and functions with regard to Iranian contemporary art.

The descriptive-analytical method was used in this study, and data were gathered using field and desk research methodologies. First, we examined the similarities and overlap between this phenomenon in Iran and the Western world using definitions and studies associated with “appropriation” in Western art. Then, we highlighted contemporary Iranian artists whose work follows the “appropriation” principles.

According to the results, contemporary Iranian artists have predominantly accepted this method. As a consequence, artists have applied the notion of “appropriation” for a variety of purposes, three of which are noted below: 1- “Recycling the past within modern contexts,” 2- “Fostering intercultural dialogue and translation,” and 3- “Transposing the meanings of native artworks.” This study examines a range of appropriated works by contemporary artists under each of these functions. In the first function, artists’ attention has been drawn to the representation of the splendor of the past and the difficulties or concerns of contemporary man. In contrast, in the second function, the fusion of Iranian culture and art with renowned Western works has been highlighted. Finally, in the third function, we see previously recognized Iranian pieces distorted or tampered with, as well as new meanings added to them. Thus, some characteristics of works created through the “appropriation” strategy include modern and critical reproduction of images and works from the past to develop new meanings, link the past to the future, and refer to or retell the past.

This article explores how copyright-based genres in contemporary art conform to intellectual property law. By examining the “appropriation” cases and the criteria of the doctrine of fair-use in them, the limits and borders of legal and creative copying (reduplication?) are determined. This study’s main question is how fair-use as a legal solution helps artists to be more creative? The research hypothesizes that fair-use is the mediating solution of law and art to balance copyright laws strictness. The cases of Jeff Koons and Richard Prince, as examples of influential figures in the history of art and law, have been selected, and the criteria for their fair-use will be analyzed. The Research Method is a doctrinal research method in which the evolution of copyright laws following contemporary art characteristics is expressed through court decrees and reviewing cases. The present analysis results show that fair-use, by considering parody and Transformative use, defends the expression and appearance of the artist’s creativity. Further, the study of court’s performance through doctrinal research method shows that the emergence of creativity is a common goal of intellectual property law and contemporary art.

Despite a history of numerous dramatic adaptations in Iran, they have often failed to attract critics’ and audiences’ attention. Achieving a localised theoretical framework for adaptation is one way out of this impasse. The present paper begins with a pathology of adaptation in Iran, followed by a comparison between adaptation and translation in order toshow ways to borrow ideas from translation theories. Of special importance here is Shahnameh, because of its stance in our theatre. To conclude, the obstacles and conditions of adapting legends and ancient texts, posing a ‘theory of suicide’ according to which, a successful adaptation is more dependent on the adapter than the original source. Adaptation is not imitation, multiplication, change of medium, or respect the original, but is the creation of a work which, whilst keeping ties with the original, maximally distances from it. The suicide theory suggests the critical-aggressive seizing approach instead of adaptation. Seizing can aim at overthrowing every foundation of that which has granted a work some false, hollow identity; or further, a demythification of reference texts. Even if it does not achieve its goals, the suicide has a character and opens up new doors. This theory is an attempt to pose an applied approach for adapting ancient texts in the Iranina drama.

The preservation of the authenticity of artworks in the art history and contemporary era has been always important and necessary. In the present era, the return to the traditions of the past has made it necessary to understand the concept of originality in relation to topics such as inspiration and adaptation in the art visual works. Reading past works in the artist's minds reveals their impact in two different ways, one is an inspiration (unconscious influence) and the other is adaptation. In inspiration, the artist without prior intention is affected by the elements and practices of his predecessors, and repeats their form and style work in their artwork. In the second figure, the artist, having full conscious of the origin of the method, engages in it. Of course, these readings sometimes question the notions of authenticity of artwork. Therefore, the importance of understanding the concept of authenticity in relation between two topics such as inspiration and adaptation in the works of visual arts is important and significant. From ancient times to today, we have seen the many artists’ works of the past to this day using various adaptations and references. Of course, the scope of these adaptations is not just limited to visual arts, but we have also seen valuable adaptations in literature, theater and scriptwriting. It is also important to note that, given the fact that any valuable traditional artist in his past finds, the achievement of superb creativity, if not based on innate genius, requires familiarity with artistic tradition and the form inherited by the artist. That is the way to significance the role of inspiration shows. This article aims to explain the position and role of authenticity in visual arts in answer to the main question of whether the artist that inspired and adapted from other visual artworks, can preserve authenticity of artworks. Another issue that is addressed here is the role of artist's individual creativity in the authentication of work. Considering the results of research about the inspiration and adaptation of art works and art history, if artists achieve a new personal and creative statement in accordance with the principles and knowledge, they do not cause destructive effects on authenticity while the new work preserving the authenticity of the earlier work. It can also count as a new authenticity and a genuine artist's expression. In the contemporary era, the division of the artwork’s authenticity into absolute and relative authenticity can allow understanding and preservation of the authenticity’s concept in view of the present age’s complexities. In addition to, an artwork that introduces familiar and well-known issues is not authentic, however the art work that expresses the new perspective and initiative on a subject or content count authentic. Therefore, in the present article, it has been tried to mention the role of inspiration and adaptation concepts separately by introducing samples of some artists’ works and the discussions in relation to the authenticity of the artwork. Research methodology is descriptive analytical method with library studies and using Internet resources.

Image creation is a well-recognized mean of communication. Nowadays, the method of creation has changed to other communication forms, different from previous ages. With the flourishing of economies, the image creation moved towards ad illustration which itself evolved into an art form of the globalization age. This art is based on referring functions because the use of references is inevitable for accelerating the message sending process. In addition, the postmodern age aims to use exophoric references and references to other works are considered intertexual, which justifies its use. On this basis, it seems that it matches the concept of appropriation in art (accordingly, the definitions of the originality and nobility also change) because making use of others peoples’ works, completely or partially, is in fact a reference to audiences’ implications. On one hand, communications, as the contemporary visual language influenced by the globalization process, makes use of the references in expressions such as commercial ads in a way that it is seemingly speaking about their fundamentals using the intertexual relations and thus opens up to new horizons to identify and criticize these illustrations; since it both refers to the presence of other works in novel ones and also affirms the element of co-presence. Therefore, art appropriation is investigated through providing a definition of the commercial ads and originality areas as well as piracy. The paper at hand is theoretical and fundamental in terms of the methodology, using descriptive-analytic approach. The required data was collected through desk study of library resources and note taking. A purposeful sampling of images was conducted which, through a comparative approach, explains the view that the illustration art in commercial ads is a perfect example of referencing samples and appropriation in commercial ads are comparable to two general categories of intertexuality, each comprising of three sections (the imitation category such as pastiche, charge and forgery; and the transformation category like parody, travestissement and transposition). The results indicate that creation of works based on pastiche, is the re-creation of the work in commercial ads illustration and its real manifestation appears in violating the copyright law. Parody is a change in preconceptions and imitation and in commercial ads, the work is used to express and convey a new concept through changing others peoples’ works and accepting the changes. Charge is the exaggeration in previous works made by creating a satiric atmosphere in advertisement field. Exaggerating and radical imitation is travestissement where in ads; earlier works are destroyed in order to create new ones. Forgery is a form of imitation which believes in the use of other works based on the similarities of the two forms where either a template is a means of sustainability of the other works or is itself a sustainable template, complementing earlier works and can be compared to serial advertisement strategy in commercial ads. Moreover, transposition is an adapted concept of earlier works where the changes made are serious where semiotic references evoke previous works that in commercial ads, they emerge in semiotic examples of ads using a semiotic reference. The findings confirm that the art of producing commercial ads frequently makes use of referencing procedures and through this, shatters the holiness of the artwork into pieces in technology and information world. With its postmodern taste (the inclination of contemporary works is not the product of an artist’s original thought, but it is of a referencing function and the works’ ambience, is composed of an infinite number of potential relations and connections), it matches the ways of the present age, justifies the originality of artwork based on common criticism theories of the time which are acceptable as the representative of art in contemporary age.