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

The character of Batman is one of the superheroes of the DC universe, which was created in 1939 by Bob Kane and Bill Finger, the writers of comics. This character voluntarily seeks to establish order and justice and arrest criminals and criminals. The noteworthy issue is that even though he is a justice-seeking person or a social reformer, his action is called against the known regulations and a violation of citizen’s rights from a legal point of view. Because he is not a policeman, not a prosecutor, not a judge, or the like, nor does he have a license from legal and government institutions to take action against criminals. This issue considers him a hero on the one hand and an anti-hero on the part of social intellectuals. This topic is a reminder of the role of anarchism in society. Batman: The Dark Knight Returns animation, created by Jay Oliva, is based on the DC comic book of the same name by the famous comic book writer Frank Miller, which was produced and released by Warner Bros. in 2013. In this article, I intend to provide a brief definition of anarchism and clarify this concept by examining the story as a whole and its political and social components, on the other hand, I will analyze the work with Rostam and Espandiyār’s story.

Ferdowsi’s Shahnameh depicts the cultural heritage of Iran and tells fascinating stories and legends about the people of this land. One of the most important stories is the battle between two heroes, Rostam and Esfandiyar, which is analyzed in this essay. In this research, we see that the hermeneutic analysis shows that this picture, in addition to important events, is a symbol of two mythological heroes that have always been analyzed. In the analysis of figures and myths in this research from a hermeneutic point of view, the painters explain the role and character of myths with the influence of literature and culture and present the interpretation of contrasts and differences. From a hermeneutic point of view, the interpretation of symbols and artistic patterns can play a role in understanding the deep meaning of images and their connection with the related culture. Using the hermeneutic approach, we understand the point of view that painters represented their culture and history in the interpretation and drawing of images. In addition, a historical review of the mythology of the battle between Rostam and Esfandiyar helps to understand the story and its historical and cultural effects in a deeper way. This approach focuses on the time and place of the battle and shows that mythology can reflect political and social messages. In this article, it can be seen that the painting in the Qajar period was influenced by Western culture and the painters created changes in painting by combining Iranian and Western elements. In this way, examining this myth from a historical perspective helps to understand the background and culture of ancient Iran.

A huge part of Iran’s epic literature originates from fairy tales and folk tales. One of the research indicators related to these stories is mythological studies. In other words, a myth is a story within the framework of mythology, that is, a system and a coherent collection of old inherited stories that were once seen by a group of real people. Stories based on the intentions and actions of supernatural beings explained why things are the way they are and why things happen the way they do. On the other hand, the reflection of mythology in ancient Iranian epic stories such as the Shahnameh and the transmission of its themes is the basis for the connection of graphic novels with narratives of the valuable heritage of the past. One of these narratives is Rustam’s Seven Labours in Shahnameh, the events of this journey can be analysed from the point of view of mythology with the archetypal components of Campbell’s Hero's Journey (departure, visit and return). From Joseph Campbell’s point of view, the discovered and understood archetypes are actually those that have evoked mythological, inspirational and ritual images throughout human history and culture. But they should not be confused with the personal symbolic figures that appear in the nightmares and agitations of the anxious person. Based on this, Campbell researched and researched the hero and finally created the result of his work in a book titled "The Hero with a Thousand Faces". According to him, all texts and mythologies of the world's heroism have a single narrative structure, and he has considered a core that includes the three parts of departure, appreciation and return, for all texts and mythologies of the world's heroism. Therefore, from Campbell’s point of view, a hero is someone who masters his personal or native characteristics and transcends them to reach a useful and usually human form. Therefore, the steps of Campbell’s hero's journey are as follows: departure, indicates a campaign to find a person or a charm or a charm that after its acquisition and return, fertility is restored to a barren land. The destruction of this land is a reflection of the illness and incapacity of its leader. In order to save his country, get his beautiful and favourite lady and prove his identity in order to establish his rightful status, the protagonist must do some extraordinary actions. Honour, usually means to enter life and is used to describe a teenager who reaches the stage of maturity and maturity. Such a person faces many problems and responsibilities in the process of growth. Awakening, awareness and more knowledge about the world and the people who live in it, usually forms the culmination of this archetypal situation. On his return, after finding the charm, the hero returns to his land to cure the drought. For each of these three stages, Campbell has stated other stages as its subset, which include the first stage: departure or separation including invitation to the adventure and rejection of the invitation, unseen assistance, crossing the first threshold, the belly of the whale. Next stage: honour ritual including the road of tests, meeting with the goddess, the woman in the role of temptress, reconciliation with the father, turning into god and the final blessing. The final stage: return including refusal to return, magical flight, saving hand from outside, crossing the threshold of return, master of two worlds, free and loose in life. Campbell calls this repetitive structure a journey. In this regard, in this article, the authors, with the aim of reading the images drawn in Rostam's Seven Labours graphic novel with the approach of joseph Campbell’s hero's journey, answer the question whether the images drawn in this graphic novel have the capacity to accept the model of joseph Campbell’s hero's journey? Regarding the research hypothesis, it can be said that it seems that the pictures of "Rustam’s Seven Labours", while following the illustrator's taste in using realistic expressions with exaggeration (in some pictures), and showing details to influence the audience's understanding of the story, with the archetypal image components of Campbell’s hero's journey it is adaptable, and in other words, you can observe these patterns in the form of images in aforementioned graphic novel. The importance and necessity of the research, the analysis of the integrated and sequential structure of the narrative, and the analysis of the related images with the desired approach for a better understanding of the audience of the hero's journey model, which has led the writers to this task. Therefore, in the present study, in addition to the research concepts and literature about the graphic novel, myth, single myth from Campbell’s point of view, the reading of the graphic novel "Rostam’s  Seven Labours" based on Campbell’s hero's journey archetype has been discussed. Also, the present article has been compiled using a descriptive-analytical method on the images of Rostam's readers by collecting materials in the form of literature review and analysing them. Regarding the statistical population of the research, among 150 examples (illustrations of Rostam's Seven Labours), 56 examples of images were selected and analysed based on Campbell’s hero's journey model. This picture book in three volumes narrated and illustrated by Mustafa Hosseini was published by Khorasan Cultural and Artistic Institute in 2014. This collection fully narrates Rostam’s Seven Labours from the beginning and with eloquent and heart-warming prose makes teenagers interested in the Shahnameh and native stories of Iran. The basis for selecting the samples among the many images was having the most readings (images) with the components of Campbell’s hero's journey model. In addition to this, the visual qualities used and the creativity of the illustrator in drawing images for a better understanding of the audience from the studied approach are other reasons for choosing the desired images and also not choosing other images, due to their similarity with each other and preventing repetition of content in the process. Regarding the analysis method of the upcoming research, in addition to identifying the diversity of images in the drawing method, paying attention to the concepts and content of images as constructive and structural patterns in Campbell’s approach is of main importance. Also, the findings of the research show that the analysis of the story of Rostam’s Seven Labours, following the criticism of Campbell’s archetype and the analysis of the images of this graphic novel, shows that the mentioned myth has the main stages proposed by Campbell (departure, honour and return) and the subset of these three main stages which it includes sub-steps and it is mentioned in the text of the article, it is fully compliant. In picture one in the text of the article, which is the reason for the beginning of Rostam's journey, the graphic novel is seen with a view of Mazandaran, and the narration of the story continues with a sequence of images of the attack of kykavus' army on divan until, in a surprise attack, Kaykavus and his troops are attacked by demons. Imprisoned and makes Kaykavus blind. The picture shows the fear of the field by showing details of this confrontation and the face of the demon. In the second picture, the conditions of the prisoner corps are depicted in a barren atmosphere and with contrasting colours of black and light. In picture three, Kaykavus informs Zal of his predicament through a courier named Pashtun. Also, in images four and five, Zal chooses his son Rostam for this important task, which also shows the interior of the palace and the conversation between Zal and Rostam. His picture shows equipment donated by father to son. From Campbell’s point of view, this sign contains the unconscious contents of a person. In the honour stage, the hero enters the test roads, which includes all the seven labours of Rostam from images seven to fourteen. In the stage of Rostam’s return and the rescue of the king of Iran in the fifteenth image, the thread of the narrative of Kaykavus and Rostam is tied together. In the windows drawn in the picture, it is mentioned that Kaykavus regains his sight and the army of demons is disintegrated by the fighting of Rostam. In this way, Rostam continues the journey as a supporter. In a summary, this research shows that in the illustrator's graphic novel, the events of the story are displayed with precise details and strong imagery. In fact, the accurate drawing of the events and the coordination of the image with the text and the general atmosphere of the story has caused the pattern of Campbell’s hero's journey to find a meaningful connection with the story in terms of imagery, for the audience to understand the main and secondary stages of Campbell. Therefore, it can be concluded that the graphic or illustrated novel can follow the text or the story and its strength with the general perspective images or with the dramatic details and especially by completing some items in the windows with writing, a suitable way to convey concepts and here the myth of the hero's journey is from Campbell’s point of view.

Coffee house painting is a style of Iranian folk painting that benefits from two great sources of Iranian culture: Iranian national culture and Iranian Shiite culture. Among the subjects of the coffee house paintings, the two themes of the story of Rostam and Sohrab and the martyrdom of Hazrat Ali Akbar (a.s.) are frequent subjects. However, it seems that the painters have followed a single model and structure with two different worldviews (national and religious themes) in depicting the two events. This research, using the approach of the daily and nightly system of Gilbert Doran and in a descriptive-analytical method, shows how the coffee house artists, referring to the archetypes, symbols, and motivations, have transfigured the character of Hazrat Ali Akbar (a.s.) in the body of Sohrab. These works combine symbols of animal form, darkness, and falling, drawn from everyday imaginings with negative connotations, representing the fear of death and the passage of time. They intertwine these with common archetypes, such as animal imagery or the portrayal of negative traits in animals, like growling, fleeing from restraint, bloodshed, or the hero’s descent from top to bottom, as a symbol of failure and downfall. These are similarly depicted in both themes, to the same extent and in similar compositions—the killing of Sohrab and the martyrdom of Hazrat Ali-Akbar (AS).On the other hand, there are positive symbols related to overcoming time and fear with archetypes such as swords, knives, daggers, or bows that distinguish purity from impurity and also represent the cultivation and purity of the soul. They are prominently present in both groups of images. A giant man with a big body, which is one of the symbols of ascension, and the light and the organs related to light, which are in the category of spectacular symbols, in the body and face of the main subjects, namely Rostam and Imam Hossein (a.s.). can be identified. In short, it should be mentioned that all the negative and positive symbols in both groups of images are depicted with the same elements and archetypes. In all these pictures, Rostam’s father and Imam Hussain (a.s.) are depicted sitting upright, while holding the head of their dying child in their arms. This upright sitting position of the father belongs to the daily system with a positive value and can be classified in the group of ascension symbols. This figure, sitting upright, refers to the stages of ascension and exaltation of the hero. A giant man, a giant, an angel, or symbols related to light and light organs are also other positive archetypes known in the group of positive symbols and the category of ascension and spectacular symbols. In these images, we can identify the imposing figure of the hero, the invincible body of Rostam, and the blessed body with the radiant aura of Imam Hussain (a.s.). In examining paintings depicting the martyrdom of Hazrat Ali Akbar, the notable aspect is the symbolic presence of the sun, not as a passive object but as an active participant in the scene. Ashura happens at noon and when the sun is at the center of the sky. But the sun depicted in the paintings takes on a symbolic and symbolic color and plays the role of an observing subject seeking to uncover the truth. This Sun is a reminder of the ancient God, Mithras, who is the symbol of the seal in the Iranian love religion, and in the Avesta, the body of Ahura Mazda is likened to the sun. In the theoretical system of Doran, the sun is also considered as the eye of God. It is considered as one of the spectacular symbols. In the paintings with the theme of the martyrdom of Hazrat Ali Akbar (a.s.), we can clearly see this adaptation of the content of the Shahnameh, that the sun is not an insignificant object, but an independent personality and as one of the symbols representing the truth. It has a decisive presence in the battle between good and evil and is the eye of God watching over the story. In fact, by taking the help of the element of imagination and using the myth-text of Ferdowsi’s Shahnameh, the Coffee house painters tried to depict personal fears (fear of death) and the collective unconscious (the passage of time) in a Shiite narrative.

The topic of initiation or transition rites has been extensively addressed in the traditions of various cultures and societies, and these rituals have been linked to human life from conception to death. All of these initiation rituals have the same goal, which is to endure life’s stages with the adoring support of a community in order to accomplish a certain objective. In Seven Labours with a distinct and special function, the hero picks a perilous path in order to achieve a certain purpose, since the challenging tests along the way require individuals with exceptional abilities and special attributes in order to complete them, and bring about communal satisfaction and bliss. The Shahnama is one of the most significant literary works of Iranian culture, which also contains the ritual outlined above. It has always served as inspiration for artists, who have attempted to depict various passages from this literary masterpiece. One of the most significant themes, particularly in the seven labours of the Shahnama, both in the original text and in the derivative depictions from it, is the relationship between metamorphosis and initiation rituals. The primary focus of this study is to reveal the similar transformations of two main characters (Rostam and Esfandiyar) in the fourth labor of theirs seven-labor of Shahnama, as well as the conflict between good and evil (both in verbal and visual texts), using a trans-semiotic approach and based on an analysis of Shahnama’s metamorphosis’s intertextual field. The primary focus of this study is to reveal the similar transformations of two main characters (Rostam and Esfandiyar) in the fourth labor of theirs seven-labor of Shahnama, as well as the conflict between good and evil (both in verbal and visual texts), using a trans-semiotic approach and based on an analysis of Shahnama’s metamorphosis’s intertextual field. In addition to investigating the phenomena of metamorphosis and why it is utilized in analogous labours from seven of Rostam and Esfandiar’s labours, the study is also concerned with examining how the phenomenon of metamorphosis has been represented in the Shahnama’s visual versions, based on the signs used in the illustrations. This article begins by approaching the verbal metamorphosis from a trans-semiotic perspective. Subsequently, morphological analysis is carried out to provide an explanation for the observed transformations. This methodology is based on descriptive-analytic, synthetic, and comparative methodologies, as well as data gathered from libraries. In accordance with the study’s results, the metamorphosis in the fourth labour of Seven Labours, a similar phase, serves as a test and occurs during the protagonists’ most difficult transitional phases. In this struggle, one of the most major transformations of the evil force toward the achievement of a particular goal takes place, leading to the hero’s victory and his passage to the highest level of initiation ceremonies. The research’s further findings indicate that this transition also applies to the visuals derived from it. The visuals, however, are unable to independently reflect the verbal pre-text (metamorphosis and its relationship to initiation ceremonies).

Symbolism as one of the tools of visual expression of the transfer of concepts, has been able to bring many works of Iranian painting closer in form and meaning.Findings from library studies show that the painting in question consists of prominent effects that with various symbolic features, maintain their relationship with tangible reality, in other words, the Iranian painter using the valuable context of the symbolic poetry of Shahnameh and , the concepts of Iranian wisdom and Islamic mysticism, by different features, have brought visual elements with different functions, and provide connections and connections with intangible meanings and concepts in the space of images with symbolic arrangements. By examining the types of symbols in this article, it can be said that the invention and use of symbolic elements in this painting include visual elements of nature, animal shapes, birds, colors and geometric patterns.Research aims 1- Identifying the codes and codes used in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum2- Identifying different types of symbols in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museumresearch questions:1- On what basis were the secrets used in the painting assembly of Sohrab killed by Rostam in the Shahnameh 1028 AH in the Walters Museum?2- What are the symbolic elements in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum?

Comparative literature is one of the old and respectable disciplines. Cultural dialogue between ethnic groups has been customary for a long time and we can consider a common origin for the origin of the narratives of each nation. This field examines the intersection of literature in different languages and finds complex and numerous literary links in the past, present and its historical relations in terms of influence in the fields of art, literary schools, intellectual currents, topics and people, and it can even be called a dialogue between Knowledge of civilizations and cultures. Ferdowsi's Shahnameh and Homer's Iliad, as eternal literary epics, are among the rarest topics of this literary field and can be analyzed in three different fields from the perspective of its characters: Tehmina, Penelope-Rostam, Ulysses, and the concept of the city. This research deals with these areas in a descriptive and analytical way

Qajar rule, dominated by the long reigns of Fath Ali Shah and his great-grandson, Nasir ad-Din Shah, provided a relatively stable political environment favorable to the encouragement of ambitious architectural programs and the decorative arts. Here, two concepts of “eclecticism” and “innovation” are among the many intriguing influences that contribute to an understanding of the richness of Qajar cultural life, especially as revealed in the visual arts, where fresh inspiration was possible through the impact of new technology and an expanded iconographic repertoire. All this was supported by the cumulative inheritance of the deep-rooted, colorful, and pictorial tradition of Iran’s arts and crafts, which extend back to the pre-Islamic past of the Achaemenids, Parthians, and Sasanians. The strength of this tradition was such that it survived the period of unrest and civil dispute that interrupted the sequence of Iranian history between the collapse of the Safavids in 1722 and the emergence of the Qajars by 1785. The resources and techniques of architecture and its associated decoration of sculptured stone relief, polychrome tilework, and carved and molded stucco, and of arts and crafts such as book illustration, painted lacquer, knotted pile carpet weaving, painting, printing and embroidering of textiles were at their disposal to be revived, adapted, and exploited. Emphasizing ancestral themes with a look at past heritage was a conscious policy followed by the Qajars to continue and legitimize their reign in the 19th century. Apart from poetry and literature, such a matter manifested itself visually in the portraits and figures of mythological rulers and heroes in different art media, including tilework. After a period of decline in tile production during the 18th century, there was a remarkable revival of tilework decoration during the Qajar period where craftsmen continued the traditional techniques of mosaic, overglaze and underglaze-painting. They experimented with new treatments and themes and introduced a range of bright colors in this period. Rostam, the mythical hero of Ferdowsi’s Shahnameh (Books of Kings) was a subject frequently depicted on Qajar pictorial tiles in public and private spheres, like royal palaces, residences, mansions, houses, bathrooms, bazaars, gates and portals more than any other mythological figures. This constant, growing presence raises some questions as follows: What political and social backgrounds facilitated such heroic manifestation on Qajar tiles? What are the distinct physical features of Rostam in these works? And what other fields could be connected to this subject? Results of the research indicate that the revival of ancient ideology concerning the pre-Islamic Persian great kingships, and that of the ancestral themes by Qajars, especially in the first half of this dynasty, as well as the promotion of folk art foundations and nationalism among the ordinary people created optimal conditions for a visible manifestation of Rostam figure and the Shahnameh stories, most specifically those from Haft Khan (the Seven Labors of Rostam), on the pictorial tiles in architectural decorations of Qajar era.

Ferdowsi’s Shahnameh is one of the greatest epic poems in the world. The outstanding values of this poem have not been hidden from the painters of different periods and they have drawn illustrations for many stories of Shahnameh. The combat of Rostam and Sohrab has been one of the most interesting themes for these painters. Due to the existence of different layers of meaning in Shahnameh, Shahnameh painting also provides very valuable raw materials for identifying signs and codes. In fact, the science of semiotics provides us with the ability to identify and reread these drawings to better understand this outstanding work. Considering the importance of characterization in the story of Rostam and Sohrab and the design of icons which are in appropriate accordance to the prominent characters in paintings, this study tries to semiotically analyze the most important character of Shahnameh, namely Rostam in the paintings of different periods. Since in Pierce’s semiotic method a sign is treated as having three dimensions and the role of the interpreter and his perception of “interpretation” is given importance, 15 drawings from this section of Shahnameh are selected and analyzed from the point of view of this thinker. This research is fundamental in terms of its goal; has a descriptive-analytical nature and lean on field and documentary methods for collecting data. At the end, it is concluded that painters’ connection with the subject of the story and the way they depict them have to do with hearing the story, receiving its linguistic-spoken messages, reading the text of the story through linguistic-textual messages, and seeing pre-existing images. The final outcome is formed and transferred to the audience with the intervention of the individual painter’s thought and creativity and the use of visual elements (both text and image) in the form of drawings. Generally, in order to introduce Rustam to their audience, painters have often used signs with a conventional relationship in the symbolic aspect and cause and effect relationship in the index aspect.

Naqqali is defined as one of the most important Iranian traditional performing art in which verbal feature is dominated. Understanding the perceptual order of the representation in Naqqali might enable us to perceive how meaning of different stories are embodied in the course of Naqqali, yet little research has done in this regard. This article, through a semiotic approach analyzes the relationship of specific features of Naqqali: word and sounds of Naqqal )his linguistic and paralinguistic signs( with body of Naqqal )his mimetic, proxemics and gestural signs( in two different stories: joy and love )Bijan & Manijeh( versus sorrow and epic )Rostam & Sohrab( which were performed by Morshed Torabi in 1390. The study shows that over the course of each performance the way of the story presented is not necessarily influenced by what the story is about. So, the sort of body signs are same in both performances. However, the narrativization of the story has an influence on the discourse of performing body. In the other word, the diverse of narrativity in Rostam& Sohrab story embodies the diverse of his presenting gestural signs with high frequency; in contrast, the frequency of body signs in Bijan & Manijeh performance which has a linear structure is considerable limited.

The reign of Al-Muzaffar was short and full of chaos and unrest, but in this short period, Shiraz painting school has entered a new phase of development under the protection of Al-Muzaffar. Different visual sense in the paintings of the battle of Rostam and Sohrab in Al-Muzaffar Shahnameh reminds the fact that the political and social situation in this period might have led to change in the course of visualization of Rostam and Sohrab battle.
The study aimed at investigating infrastructures like content and visual elements in the battle of Rostam and Sohrab in Shahnameh of Al-Muzaffar Shiraz school, to explore the similarities and differences, as well as understanding the impact of political and social conditions of that time in the visualization of this battle. The main question is: Has change in the political and social situation of Al-Muzaffar period led to development in the visualization of Rostam and Sohrab battle
? In order to answer this question the present study is arranged in four main sections: 1. Introduction to political and social conditions in Al-e Muzaffar regime 2. Shahnameh visualization in Al-e Muzaffar regime 3. A synopsis of Rostam and Sohrab battle 4. Impact of al-Muzaffar political and social conditions on the visualization of the Rostam and Sohrab battle.
This study has expressed the issue using theoretical, descriptive, analytical and adaptive methods. The results of the research indicate that the painters in this period have dramatized the story consistent with the political developments and conditions of their own society and this point is particularly obvious in landscaping, iconography, creating atmosphere (mood), designing, angle of viewing, and combination of the works.

Shahnameh of Ferdowsi as a valuable and inspiring resource, since appearance was welcomed by artists and artisans of the Islamic era. Since Ferdowsi described the epic stories in his book so meticulous and attentive and full of beauty, Persian painters decorated Shahnama’s books with illustration of battle scenes between two power of good and evil. The story of the battle of Rustam and white demon (Div-e Sepid) is one of the most famous story in the seventh labor (Khan-e Haftum).This scene also was painted repeatedly in the Shahnameh manuscripts in different painting schools. This research is about this scene in the illustrations in Shiraz, Herat, Tabriz, and Isfahan schools in Iran which all of them are very important painting schools of Iran. This study is written via descriptive and analytical methods. Vast surveys showed some specific and indicative differences in backgrounds of images, how they shows portraits of heroes and characters or scenes, also composition of colors, clothes and rules of perspective in the painting of the scene in various schools. Determination and differentiation or participation of qualities in paintings of the scene of Shahnama beside of other scenes will be able to contrive for more knowledge of properties of these four schools and their differences from each other from the eighth century A.H to 11 A.H.

Depicting the stories of Shahnameh is an issue that has attracted the attention of artists in different periods. Among these artists، rug designers can be named. In Qajar era، images of Shahnameh abundantly can be seen on pictorial rugs. Rostam''s battles and epic tales are the stories that are highly regarded by such artists. The battles of Rostam and his battle with the Akvan the demon have attracted much more attention. We will analyze a carpet in which the war is shown within an altar. The question that arises here is: Is the objective of the image of such tale is more than just depicting a battle، since it is located inside an altar? And if the answer is affirmative، what are the reasons? To give a suitable answer based on Jung''s ideas، first we have to try to introduce the archetype، and then derive such archetypes out of the carpet. This article is a descriptive - analytic study. We want to offer a different analysis according to the psychology of Jung''s archetype.