جستجوی مقالات مرتبط با کلیدواژه « literature » در نشریات گروه « هنر و معماری »

As one of the schools resulting from realism, magical realism in world literature has had many effects on other arts. Cinema, as a medium that has used literature as one of its main sources since its birth, was also influenced by this school. The new wave of Iranian cinema - as an intellectual trend compared to the commercial cinema of Iran - also used literary sources of Persian texts and many valuable films of this wave are literary adaptations. The purpose of this research is to identify the elements of magical realism in new-wave films. In this sense, five films from the new wave cinema before the Islamic revolution have been selected and the characteristics of magical realism in these films have been searched in comparison with their literary sources. The selected statistical population is all from the literature of the forties and fifties. The method of this research is basic in terms of the goal and the descriptive-analytical method has been used to study case samples. In the rest of the article, the elements of magic realism such as the intermingling or juxtaposition of reality and imagination, the artistic rotation of time, complex narratives or plots, the diverse use of dreams, legends, and fairy tales (in the context of the story), expressionistic and surrealist descriptions, surprising ideas and beliefs, The elements of surprise and sudden shock, terror and inattention (some events) which are the characteristics of magical realism, have been searched for in movies and adapted with these elements in literary sources. At the end of this research, it was found that except for the elements of dreams, legends, and fairy tales, traces of other elements of magical realism can be seen in new-wave films.

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it.  The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

In the creation of literary and artistic works, the texts, while having obvious and hidden relationships, have a process of overlapping and modeling each other, so that from within this connection and modeling, new texts and works are created or expanded and developed. The aim of this research is to investigate and analyze a pictorial rug with the theme of Leyli and Majnoun based on the type of genetic polytextuality with interdisciplinary texts (pre-textual and multitextual rugs, three miniatures) in order to discover and explain the intertextual relationships. Hypertextuality is one of the pre-textual signs in the selected texts. Based on Genette's point of view, hyper-textuality is the re-reading of pre-textuality; that is, writing new content and reading pre-text creates a new text. Revelation in the relationship between texts, influence and hyper-textuality of each other, has always been one of the topics of interest of researchers in the field of human sciences and literary studies. In the 20th century, this issue was raised by Kristeva and Barthes and systematically developed by Genet in the form of transtextuality theory. Hypertextuality is a type of transtextuality that deals with the systematic relationship of a text with previous texts as sources of inspiration, based on change and imitation. For this reason, pictorial rugs with the theme of the story of Leyli and Majnoun are an expression of texts mixed with verbal and visual systems that were produced by using the artist's creativity and imitating literary and artistic pre-texts during Qajar period. In this research, a sample of the mentioned rugs will be studied and analyzed based on the multi-textual approach and focusing on the type overlap, with the aim of reading and discovering the degree of intertextual communication and imitation of internal and external pre-texts. Therefore, the main question of the research is: to what extent and how can the imitation of interdisciplinary texts be explained, and what do the verbal and visual signs in it indicate?The most important findings of this research are the followings: the designers of Leyli and Majnoun rugs enjoy from previous sources such as literary and visual texts to design these works; works which are based on imitation and change. More importantly they create motifs and peripheral and marginal narrative scenes based on individual innovation. In the interdisciplinary pre-texts (paintings) the painter, while being faithful to the previous literary sources, tries to create an exemplary and ideal space from the story of Leyli and Majnoun. This research is of a qualitative and developmental type and its research method is descriptive-analytical and data collection is desk-based. In the process of doing the work, while passing on the theoretical and fundamental studies of hypertextuality and the overlapping approaches, the research explores visual and verbal systems, literary and artistic pre-texts and finally analyses hypertexts. Relevant intra-disciplinary and inter-disciplinary themes will be conducted to the topic of Leyli and Majnoun.

Although the postmodern narrative structure is influenced by postmodern philosophy and worldview (especially Nietzsche’s philosophy) in the criticism and satire of modern reason and humanism, the final postmodern structure cannot be reached by simply repeating philosophical slogans about the intellectual impulse of modern man. The present study, with a critical analysis of experts’ views on identifying and adapting postmodern literary and cinematic examples, claims that many works known as postmodern fall into the category of pseudo-classical or pseudo-modern works. Based on the results obtained as a result, examining the common principles of classical and modern with the common principles of postmodern in eighteen cases, the most important feature of postmodern literature was to draw the readers’ self-conscious attention to the fact that the work is fake to challenge the relationship between reality and fiction. The few postmodern films can also be summarized in ten titles, but by reducing the ten characteristics, the lack of originality along with self-disclosure and reference to the past can be mentioned as the three main components of postmodern works in cinema.

Man is by nature a lover of beauty, and the feeling of enjoying the beauty of anything or a person is the result of understanding the order and harmony in it. In aesthetic discussions, to beautify a work or phenomenon, various factors such as symmetry, balance, periodicity, proportionality, repetition, contradiction, etc. can be considered. Symmetry, as one of the most fundamental foundations of art and beauty in understanding the order between the components, plays an undeniable role in most sciences and arts. Among them, we can mention sciences and arts such as mathematics, geometry, astronomy, architecture, music, painting, carpet weaving, design, gilding, woodcarving, literature, etc. From the studies of this research, it appears that there are many similarities and differences between the two Islamic-Iranian arts of literature and architecture in terms of words and concepts. Sometimes literature uses architectural designs and patterns in creating imaginary images, and sometimes architecture uses the words and concepts of literature in creating some designs and designs of buildings and even calligraphy. .In this research, with the help of library tools and document research and data analysis, after mentioning some commonalities of Persian literature and architecture, we have studied the manifestation of literary concepts in the symmetrical patterns of the dome of Sheikh Lotf-Allah Mosque in Isfahan.

This research seeks to obtain a correct and close to reality image of the face of the city and the urban space of the poet's time by carefully studying the life and works of the Nezami sage Ganjavi. Finding-Finding in this research is in the form of documents, libraries and study of previous researches and the method of content-based content analysis has been used in the study of the poet's five stories. The content of the themes of his poem can be divided into eight stages based on the chronological order "Not describing or mentioning the details of the words of the city, adherence and belonging to the birthplace, resentment and turbidity of the incompetent people of the city, not mixing with the people of the city and the first sparks of building an ideal city in the imagination, proposing their mental model for reforming the state "Introduction to shaping his mental idea about the ideal city, finding the desired pattern and design of the ideal city" introduced. In fact, the ideal city and consequently the ideal from the point of view of the Nezami sage finds meaning and manifestation in the relations that govern it, relations based on social justice and equal rights of individuals in society. In his view, the role of individuals, wise men, and especially the masters of power in building the ideal society and the face of reality to cover the utopia and utopia, is constructive and serious and presents it in the city Nikan.This research seeks to obtain a correct and close to reality image of the face of the city and the urban space of the poet's time by carefully studying the life and works of the Nezami sage Ganjavi. Finding-Finding in this research is in the form of documents, libraries and study of previous researches and the method of content-based content analysis has been used in the study of the poet's five stories. The content of the themes of his poem can be divided into eight stages based on the chronological order "Not describing or mentioning the details of the words of the city, adherence and belonging to the birthplace, resentment and turbidity of the incompetent people of the city, not mixing with the people of the city and the first sparks of building an ideal city in the imagination, proposing their mental model for reforming the state "Introduction to shaping his mental idea about the ideal city, finding the desired pattern and design of the ideal city" introduced. In fact, the ideal city and consequently the ideal from the point of view of the Nezami sage finds meaning and manifestation in the relations that govern it, relations based on social justice and equal rights of individuals in society. In his view, the role of individuals, wise men, and especially the masters of power in building the ideal society and the face of reality to cover the utopia and utopia, is constructive and serious and presents it in the city Nikan.This research seeks to obtain a correct and close to reality image of the face of the city and the urban space of the poet's time by carefully studying the life and works of the Nezami sage Ganjavi. Finding-Finding in this research is in the form of documents, libraries and study of previous researches and the method of content-based content analysis has been used in the study of the poet's five stories. The content of the themes of his poem can be divided into eight stages based on the chronological order "Not describing or mentioning the details of the words of the city, adherence and belonging to the birthplace, resentment and turbidity of the incompetent people of the city, not mixing with the people of the city and the first sparks of building an ideal city in the imagination, proposing their mental model for reforming the state "Introduction to shaping his mental idea about the ideal city, finding the desired pattern and design of the ideal city" introduced. In fact, the ideal city and consequently the ideal from the point of view of the Nezami sage finds meaning and manifestation in the relations that govern it, relations based on social justice and equal rights of individuals in society. In his view, the role of individuals, wise men, and especially the masters of power in building the ideal society and the face of reality to cover the utopia and utopia, is constructive and serious and presents it in the city Nikan.This research seeks to obtain a correct and close to reality image of the face of the city and the urban space of the poet's time by carefully studying the life and works of the Nezami sage Ganjavi. Finding-Finding in this research is in the form of documents, libraries and study of previous researches and the method of content-based content analysis has been used in the study of the poet's five stories. The content of the themes of his poem can be divided into eight stages based on the chronological order "Not describing or mentioning the details of the words of the city,

After some terracotta, seals, and antiquities were found on the side of Halil River, after the flooding in this permanent river due to heavy rains that occurred in Jiroft in 2000, some archeologists around the world came to this area to do scientific research and explorations. The conducted explorations led to the advent of the most ancient civilization of the East, which revealed a surprising identity of people with good taste and specific traditions and rituals. This study investigated the ritual performance signs in motifs of seals discovered from the ancient civilization of Jiroft to identify and introduce a new background of ritual performances in Iran. For this purpose, an introduction to ritual performances was written asking the question that whether the confirmed theory of researchers still works about determining the history of ritual performances or not, and then the research background is expressed then findings of Jiroft civilization are examined. In the next step, the similarity between ancient motifs of the world and discovered motifs of this civilization, which represent a ritual per romance is assessed. This paper aims to confirm that the ritual performances of Iran have an ancient background beyond our previous knowledge, and the results indicate that the ritual performances of Kerman are possibly the oldest ritual performances of Iran, which go back to 5000 years BC.

aaaLion and dragon have been represented as a symbol and myth due to a number of reasons and their unique features. In Islamic age, concurrent presence of lion-dragon is found in contrast with each other in Iranian artworks, a simultaneous presence that was not found before the advent of Islam. The main aim of this study is to investigate on the way that these two concurrent symbols present in artworks of Iran. To achieve this goal, recognizing symbolic concepts of lion-dragon are studied in three areas: myths, Islamic beliefs, Iran literature which are studied to an extent by which they can pave the way to investigate these artworks and their concurrent presence. In other words, the image and imagination that is provided for the addressee by these three areas is the cornerstone of the study. The current research which is based on descriptive and analytic studies aims to answer these questions:1-what does concurrent presence of lion-dragon in artworks of Islamic age mean?2-Is the concurrent presence interpreted as a battle between Good and evil and the dominance of one over another; or does it show a kind of solidarity without any identity? The symbolic presence of dragon-lion has always been seen in a battle in artworks that is conceptually the symbol of perpetual battle between lightness and darkness, Good and evil. But it is significant to define a more accurate meaning depending on the kind of art and the place of this symbolic role.

Photography is an art that after its invention, important developments took place in the field of different arts including painting, architecture and literature. Photography, by showing the details of the environment around people as accurately as possible, and documenting and recording moments and events, served well in art works, including literature. The facilities available in photography that were reflected in the lives of the people of the society, this issue was quickly noticed by prominent writers in the field of literature all over the world, and thus photos were involved in the course of important literary stories and They set a new platform for paying attention to the situation and characters of literary works. With the continuation of the presence of photographs and the photographic method in the field of literary texts and a fusion between these two artistic fields, works were created with a novel view of the various concepts in human life in this field and This issue made the audience closer to these two fields. In this research, we tried to pay attention to the description and analysis of the presence of photography in the field of literature, and from this point of view, analyze the work "In Search of Lost Time" by Marcel Proust. We tried to examine the photographic method that this author chose to express his story based on the opinions of literary and artistic thinkers such as Roland Barthes and Georges Poulet.. How the presence of photographs and photography features in this author's narrative has played a role in characterizing and overcoming the time course of the story and the way the scenes are presented and the expression of important concepts in the process of the story and how this French writer has used the features of this 19th century invention that originated from his country to represent what he has in mind.

The current research is based on the connection between poetry and music, and the influence of Iranian classical music on works of art (Persian literature). A connection that has long been considered by many writers, who have created lasting works in Persian literature by using the information of Iranian instrumental music. The link between poetry and music is an unbreakable link that the knowledge of these two noble arts enriches new works of art in the field of poetry and music. In connection with the link between poetry and music, there are many evidences that some of the great poets of Iran had a considerable tendency towards the Iranian music of their time, that apart from having proficiency in literary techniques, they were somewhat familiar with the terms and rules of music or the connection They have been close to the musicians of their time. The research carried out is a descriptive-analytical research with field studies in order to measure the level of awareness of literary activists in Shiraz city, which was done by presenting a questionnaire to the statistical community and by "spss" software and by providing statistics on variables such as: age, The literary branch, level of education, instrumentation, familiarity with the forms and ranks of Iranian instrumental music have been analyzed and investigated. Finally, the poetry and literature people of Shiraz, like some of the great poets and songwriters of this period, in order for their works to be musical and for composers to be able to use these poems in creating works combining poetry and music, apart from having innate talent, they must have a level of awareness. Elevate yourself from Iranian classical music from the listening point of view in the field of instrumental order and understanding of musical weights.

The studies that have examined the Persian language and literature’s presence in Iranian painting have summarized this presence only as a visual representation of the literary text in the painting, through a type of reductionist approach. This approach only considers and analyzes the research data, the literary texts and the illustrated miniatures that are based on them, and the presence of Persian language and literature is overlooked in the totality of the paintings’ creation process. As a result, in this reductionist approach, the other forms of Persian language and literature’s presence in Iranian paintings are eliminated. In the reductionist approach, the presence of Persian language and literature in Iranian paintings has been ignored, and only the relation between the visual objects in the painting and the text of the poem has been explained and analyzed. The purpose of this study is to identify and distinguish the presence of Persian language and literature in the whole process of creating miniatures in Iranian painting. Therefore, the question is in what forms Persian language and literature have been present in the process of creating miniatures in Iranian painting?The present qualitative study was conducted through content analysis method using the Jürgen Ritsert analytical method. Data collection is done using archival, library and internet resources. Content analysis is a process of reading a text, gaining proper understanding of seemingly irrelevant information, analyzing qualitative information, systematic observation and conversion of qualitative data into quantitative ones. In the present study, the content analysis method has an interpretive nature. And according to the mentioned model, it began with the theoretical stage (i.e. the formation of the initial plans, questions and analyzed resources), and the process of creating paintings and different Iranian schools up to the Safavi era were examined. Then, in the unit construction stage, groups and units of analysis were divided into several categories: "painter" (or their students who did the act of painting), "painting as a product of artistic and technical activities", "collection of technical and artistic actions that the painter applied on the painting". In the data evaluation stage, appropriate analyses were performed related to the research, and the presence of literature was investigated in relation to each of these three groups. Finally, in the results interpretation stage, a conclusion was reached based on the research problem. Accordingly, in the production line of paintings in libraries, three units of analysis can be distinguished: The first is the painter, the painters and their students who did the painting. The second component is the product of their artistic and technical activities on the affected surface, namely painting, and the third part is all the technical and artistic works that the painter and the students performed on the painting. In response to the question of what are the forms of the presence of Persian literature in Iranian painting, the findings of this study show that Persian language and literature have been present in the whole process of producing miniature in Iranian painting. Literature acted as a medium for the artist to understand mysticism, and in order to illustrate the literary text, the mental perceptions of the painter and the writer of the literary text have been united. Persian language and literature also conditioned the minds of some painters due to the calligraphic limitations that prevailed over writing in Persian language and literature. Existence of Persian letters and texts in the form of calligraphy in the paintings, the principle of the internal relation between image and text, and the representation of the opposition between the external matter (appearance) and the internal matter (within) in literature and mysticism in the formal structure of miniatures is a clear example of the presence of Persian language and literature in painting. During the technical operation, the painter looks for the pictorial equivalent of the metaphorical language of literature and prepares a list of conventional motifs. He also uses the metaphorical style as an illustration technique to enrich the image. In addition, the signs that referred to the text were also used to induce psychological aspects.As noted, the inseparable nature of the history of Iranian painting with Persian literature is not limited to the conformity of the drawing and the text. Rather, Persian language and literature are presen

The aim of this study was to investigate the rights of citizens based on the ideas of Hassanzadeh Amoli and Seyed Hossein Nasr. The statistical population of the study was all sources, articles, books and specialized sites related to the views of the two thinkers, which were examined using the content analysis approach. The data collection tool was a content analysis checklist to examine and extract the components of citizenship rights, the validity and reliability of which were obtained by experienced professors. Findings showed that from the perspective of Allameh Hassanzadeh Amoli, citizenship rights have components of empathy with God's creation, rights and duties, enjoyment of justice, lawful employment, education, physical and mental health and social health and from the perspective of Seyed Hossein Nasr, protection of nature, Economic rights, rights and duties, women's rights, freedom, human dignity and the right to govern. Therefore, what is important is that these rights should be presented in such a way that the stakeholders and relevant individuals in this field, with perseverance and consistently try to implement these rights and respect them in citizenship management.Research objectives1. Analysis of citizenship rights based on the ideas of Hassanzadeh Amoli2. Analysis of citizenship rights based on the ideas of Seyyed Hossein Nasrresearch questions1. How to analyze citizenship rights based on the ideas of Hassanzadeh Amoli2. How to analyze citizenship rights based on the ideas of Seyyed Hossein Nasr

House is the first place to meet people's demand for a quality life, so it is important to study the quality of their houses in society. Since literature and fiction are truthfulness, they can represent the truth about every period of people's lives. The second Pahlavi period is a good platform for research on this topic due to many developments in the field of housing, the progress of literature and the increased number of literary works in it. Thus, fiction, including stories and novels related to the research topic in this period, can be used. About the physical components of the house, there seems to be a close relationship between architecture and literature. So, using the texts and concepts extracted from the fiction books related to this period, it is possible to understand more and more the spaces of these houses. The present study aims to investigate the relationship between the fiction and the architecture, to identify the physical components of residential architecture according to the fiction books and to investigate them in the houses in Tehran. The present research is carried out using library study and content analysis with a hermeneutic method. Moreover, a purposeful sampling method is used to select the literary works written and published in the second Pahlavi period. Then, using a descriptive-analytical method, the concepts derived from texts and case studies are compared. The results indicate that by reading fiction books, it is possible to extract the architectural components of houses. These components, after being categorized in the physical dimension, show that the components related to closed spaces have been more prominent than open and semi-open spaces. Among the architectural components widely used in the studied books, one can mention to corridor, stair and staircase, multiple rooms with different uses, courtyard and pond, multiple windows.

Attention to the narrative structure of stories from the twentieth century followed the science of linguistics and then semiotics as a branch of science. The narration of Sheikh Sanan is the most famous and longest story of Attar, which has been analyzed many times in terms of literature, narration and artistic since its creation. In the field of narration, Grimas proposed a comprehensive rule for analyzing the spiritual foundations of the text by recognizing its linguistic structures, and based on this, he proposed the study of characters and their actions based on the three verbs of wanting, knowing and being able.Also, the use of active-passive, transmitter-receiver and inhibitor-helper interaction actors and And highlighting by contrasts are items that can be seen in addition to the story in the images and drawings created from it and provide an artistic area of the story. This research has been done in a descriptive-analytical manner with the aim of recognizing, analyzing and adapting the characters of the story and drawing based on Grimas’ action model and has analyzed two drawings of Sheikh Sanan’s story and matching it with the story. The research questions are: What are the personality patterns of the actor used in the story and drawings of Sheikh Sanan? How verbal and conceptual contrasts are used in stories and drawings? The results show that all the models of active, passive, transmitter, receiver, inhibitor, helper are used in the story and paintings. The difference is that in the paintings of Mantiq al-Tair, the pattern of deterrent action is very weak and there is no supporting actor. Painters have used other elements such as nature, architecture, color, viewing angle, etc. to compensate for verbal. The research is done with a comparative approach and using library studies.

The poem of Varqa and Gulshah Ayyuqi is a very valuable manuscript of the Seljuk era, which has been preserved for the quality of the drawings and the representation of its story by the painter. Books such as Survey of Persian Art of Arthur Apham Pope, Persian Miniature of Basil Gray, Islamic Art and Architecture of  Ernst Kuhnel, catley marguerite and humby louis in the their book, Seljuk and Kharazmi art described a brief history of Seljuk painting and the characteristics of painting of this period. This research seeks to answer these questions: 1. To what extent does the painting of the manuscript of Varqa and Gulshah express the story and which plots of the story does it contain? 2. How was the atmosphere of the drawings according to the written text?. Based on a story "told by Arabs," the poem was (re-) composed by Ayyuqi in the eastern Iranian world during the Ghaznavid period. The poem Varqa and Gulshah is a love story about the life of two lovers in Saudi Arabia and the Islamic period, which is a description of their mania, problems and sufferings, wars and their separation in the way of love and joiner. The story of Varqa and Gulshah is set in Arabia in the time of the Prophet Muhammad and revolves around the misfortunes of a pair of lovers. It is in the fourth century and early fifth century AH. Varqa and Gulshah are the children of two brothers who are joint chiefs of a tribe named Bani Shayba. The two are raised together, fall in love and become engaged (Grubar, 2019, p. 73). Considering that Varqa and Gulshah manuscripts the earlist Islamic romantic manuscript in which the roots of the connection between poetry and painting can be recognized, there was a reason to choose this manuscript and to study and adapt its drawings with poems, so that the painter’s success in visual expression of the poem could be realized. Findings of the research indicate that in this illustrated version, all the features of Seljuk painting are reflected and there is a valuable connection with literature. In illustrated manuscripts, how the story is represented as an image is of special importance. Therefore, in this study, the adaptation of the story of Varqa and Gulshah with its painting has been considered. Seljuks with emphasis on the art of this period, the characteristics of painting of the Seljuk school are mentioned. By depicting 71 paintings from a copy preserved in the Topkapı Palace Museum Library in Istanbul, containing the most important events and characters that contain the main plot of Ayyuqi, the painter has shown the fidelity of image to the literary text. This story was classified in the form of 17 main plots, and it turned out that the painter illustrated 13 examples of it and, following the text, dealt with them very sensitively and has illustrated the turning points of the story into four plots and several narrations. The research method in this article is descriptive-analytical and the data collection method is library.

This article reads George Bernard Shaw’s Arms and the Man from three different aspects of the text, audience, and the historical structure, in the light of Louis Althusser’s sociological concepts with a focus on the concept of “Ideological State Apparatuses” in order to emphasize the presence of ideological and anti-ideological discourses. Given the anti-war nature of the work, Shaw’s play is one of the clearest examples in which conflicting discourses about war, namely the belligerent discourse and the anti-war discourse, are reflected. The present study examines belligerent discourse in the ideological beliefs of romanticism and heroism and seeks out antiwar discourses in the realistic and pragmatic approach to war. As the two opposing approaches to war are expressed by representatives of ideological and anti-ideological discourses, Althusser’s concept of “an ideological call” is used to emphasize the process of producing ideological subjects. In addition to explaining the conflicting discourses in the play, by citing Althusser’s definition of literature in Lenin and Philosophy and “The Letter on Art”, this article discuss the possibility of the ideological or anti-ideological function of Shaw’s play in the real world by referring to some performances of the play. Considering the historical documents and Shaw’s dissatisfaction with his audience’s misunderstanding of the message of the play in its performances in England, this study concludes that, in line with Althusser’s argument, the only way to ensure the anti-ideological mission of this literary work is to highlight the conflicting discourses through literary criticism.

The long affinity between “literature” and “painting” in illuminated manuscripts has had an old and deep effect on the form and structure of Persian Painting. In the middle of the Safavid era, creating single-leaf miniature expanded increasingly. It seems that in this era, the connection and struggle between the medium of painting and literature found a new form; Therefore, examining the works of Mo’in Mosavver, as the last real representative of the Isfahan school of painting, is of great importance in this regard. Research

The purpose of this study is to show how the historical connection between “literature” and “painting” evolved in at the later years of the Isfahan school of painting through a formal and structural evaluation of the relationship between “image” and “text” in the works of Mo’in Mosavver.Research

In this study, the paintings of Mo’in Mosavver were examined using an analytical-comparative approach and the findings of this analysis were interpreted with a historical approach in the evolution of Persian painting in the middle of the Safavid era.

The image of the “pregnant moment” in the illuminated manuscripts of Mo’in Mosavver represent a type of “implied temporality” that reminds us of the sequence of verbal narrative actions. also in single-leaf miniature of Mo’in Mosavver, a higher level of homogeneity can be observed between the medium, the content and the method of perception, since, apart from the narration, these works are limited to the arrangement of objects and beautiful figures. The traces of aesthetics deepening based on these works can be recognized in the miniatures of that era. These traces are seen where the number of figures and narrative micro-scripts are reduced in the images of these paintings and the painting focused more on illustrating the “pregnant moment”. As a result, it seems that in Mo’in Mosavver’s works, the connection and struggle between the text and image can be considered as a movement from “text” towards “image”, his movement, which is also seen in the Isfahan school, found more chance for growth and expansion outside the court’s conservative taste to create glorious and elegant illuminated literary manuscripts. This led to the creation of paintings with mimetic and stronger sensory aspects. At the time, this was reflection of a movement towards independence and further separation of the painting medium and from verbal narration.