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

The theme of kings sitting on the throne, due to its special narrative and visual appeal, has been the focus of painters in most of Iran's illustrated Shahnamehs and has been depicted with various qualities. Among the illustrated Shahnamehs, Shahnameh of Tahmasp is one of the most important versions that has paid special attention to the illustration of this assembly and has made good use of the king's throne as a symbol of power and a special visual element in explaining the position of the king. The question is: What characteristics are evident in the analysis of the visual aspects of the king's throne in the Shahnameh of Shah Tahmasp? The results show that the diversity of the form and composition of Karina, with the predominance of decorative motifs, is one of the main features of the king's thrones motifs in Tahmasbi Shahnameh. There is considerable variation in the way the throne is represented that is based on the available evidence from the difference in the description of the kings in the literary text of the Shahnameh. Although in most cases there is no description of the king's throne in the text and artist has drawn it with his imagination.

Color is one of the most basic elements of the art of painting. In painting, it has been discussed from various points of view and the physical, psychological, and physiological aspects of color have been analyzed. In Iranian painting, all objects are painted with purity and brilliance to reflect the pure world. Undoubtedly, color, which is one of the most important features of Iranian painting, has a very special place. The purpose of this article is to compare the color of animals in two paintings of the Timurid period after stating the theoretical framework. In this research, two painting works of Herat school were selected and analyzed using the descriptive-analytical method and library collection method in collecting information and selective sampling. In the Herat school, the use of red family colors has been significantly reduced and instead, countless varieties of brown colors, blue, purple, and soft pink colors have been presented with the prominent and effective use of black and white colors. The works of the Herat school are composed in a masterful, measured, and ambitious manner. The artists of the Herat school work with the skill of avoiding overcrowding and using a kind of realism in the design of animals, trees, and flowers. Warm and bright colors are evident as a characteristic of these artists, and the golden color plays a very special role in their works. In the painting of Herat school, repeated use of brick reds and rich colors can be seen in Baysunghur Shahnameh.

After the creation of Shahnameh, the reproduction of this literary text, which has a fixed and regular structure and system, was always considered by artists of different levels. However, the production copies lacked illustrations after the Shahnameh was composed for several centuries. From the Ilkhanate period, artists produced the first illustrated copies of this work. After that, the poems as a written preface became the basis for turning into a visual text in a drawing. Accordingly, painters modeled Shahnameh's stories to create visual texts or pictures. The tale of Zahhak bound on mount Damavand in Shahnameh is one of the cases that can be the basis for studying the connection between the visual text and the written preface. Two versions of the painting, including "Binding of Zahhak" in Baysunghur Shahnameh and "Zahhak's Death" in Shah Tahmasp Shahnameh, deal with the story of Zahhak's death, and the visual texts are the written preface for it. In the meantime, it is essential to analyze the fixed pattern presented in the written introduction and the changes made in its visual expression in the two versions. The structuralist perspective's transformation concept is appropriate for this study's theoretical framework. In different versions, the visual texts of Shahnameh have changed under the influence of political, military, social, and religious norms, such as ideological conditions prevailing in the time and context and personal beliefs of kings as the main clients of Shahnameh and even personal interest and style of painters. Relying on the concept of transformation in structuralism, one can be aware of these changes and possible causes and, consequently, the analysis of the performance of Timurid and Safavid painters in the form of visual texts of Shahnameh. The version of painters in the emergence of formal and content-oriented features in the visible text according to their perception of the written foreground, like translation, is one of the methods of recreating the written foreground to the visual text that depends on the extent of artists' involvement and change in the foreground. Also, combining these factors brings the mind closer to the concept of transformation in the view of structuralism. This research aims to analyze and compare the transformations of two images. The present study addresses the following question: how painters, based on the theory of Vladimir Propp, have depicted the story of Zahhak bound on mount Damavand in Ferdowsi's Shahnameh? Subsequently, the performance of painters in two versions in transferring the structural features of the written preamble to visual text is examined to determine the differences between the written preamble and visible text of the two versions belonging to the ninth and the tenth centuries AH (Timurid and Safavid periods) and to evaluate to what extent the narrative line of Shahnameh has been influenced by internal (main structure and system) and external (characters, landscapes, and spaces) components. Data collection in this article uses the library collection method and filing and observation tools. The analysis method in this research is qualitative, and the structuralist approach is used. This study shows that the visual texts of both images undergo a structural transformation in adaptation to the written pretext. In this regard, reasons such as being influenced by political, military, social, and religious norms such as ideological conditions governing the time and context and personal beliefs of kings as commissioners and schools of painting (Herat school in Shahnameh Baysunghur and Tabriz school in Shahnameh Shah Tahmasp) have been practical. Also, the personal interest and style of the two painters in expressing the standard and content-related features have caused a different perception of the preface. This indicates a kind of structural change in external and even internal factors, such as changing the hated character of Zahhak to an oppressed and pitiful character in both paintings and even the replacement of the character of Fereydon in the version of Baysunghur with the character of Baysunghur Mirza, and the character of Fereydon with Shah Tahmasp. Also, turning the belligerent atmosphere of the story into a written foreground to ambiance of feast and property has been mentioned in the visual text of Shah Tahmasp version for some time. Non-observance of the written pretext structure is also seen in the illustration of other elements. As a result, in response to the central question of this research, it can be said that the painters of the two paintings "Zahhak’s Binding" and "Death of Zahhak" do not have absolute fidelity in conveying the structural and internal features of Shahnameh in the form of the written preamble to visual text. In the future of this research, the pattern and this format can be used to analyze other adaptations of texts.

Narratology is one of the methods of understanding the principles governing narratives. Many theorists have researched in the field of narratology. Gérard Genet is one of the most prominent structuralists in this field. Genet's theory focuses on how to look at the text and allows the reader to understand how texts are internalized in other texts. Accordingly, there are five factors to analyze the body of a narrative: continuity, frequency, order, face and tone – which are related to time. Interestingly one of the characteristics of the art of painting in Iran is its connection with poetry. One of the goals of painters has been to use visual themes and spaces in poems. The stories of Shahnameh have been illustrated many times by painters. These stories, in addition to entertaining function, have an educational and moral aspect. The story of chaining Zahhak is one of the stories of the Shahnameh, which has an educational aspect due to the dominance of light over darkness and good over evil. It has inspired the painters who emphasized the permanence of this part of the story, that is, to drawing oppression and darkness and portraying and narrating it in different ways in different periods and schools according to the characteristics unique to their time. The purpose of the present research is to analylze the visual narrative of the arrest of Zahhak in Baysunghur Shahnameh according to the factors describred in Genet's theory of narratology. The research method was descriptive-analytical, while describing the visual space, its interrelation with the verbal text has been explored. Visual and written data collection was desk-based. Consequently, questions have been raised: how can the narrative analysis of the mentioned image be based on Genet's theory? Also, how did the painter show the time in the picture? Due to the structural differences between the verbal text and the visual text, it is not possible for the painter to use the continuity of the image to show the events like the poet. By using the story and its features, the poet can follow the connection of events step by step and in this way use all the verbal capacities such as the orderly sequence of events, the repetition of story spaces and the continuity of an event. But this capacity does not exist for the painter. Therefore, he tries to break the time sequence of events and display image by connecting two or more events and in this way by intervening in things such as face, it draws new angles for the audience and makes the role of the audience more colorful from this point of view. It can be said that the painter's role is more colorful in tone as a visual expression and acts as an omniscient.

 The ideological role and function of images in illustrated Shahnamehs, including "Tahmasap Shahnameh", is one of the most widely discussed topics in this valuable work. The hermeneutics of epic texts as a strategic situation for explaining the structure of power in the Safavid era is one of the other significant issues in this field. Some of these images have become more important due to their association with a certain mythological character, and their epic narrative is intertwined with historical events. The narration of " The Conquest of Bahman Castle by Kay Khosrow" is in this area. Therefore, the most important problem of the current research is to explain how power works and is represented in the mentioned painting.

 This research is descriptive-analytical, and the data has been collected by searching library and documentary sources. The method of data analysis is qualitative, considering the narrative and visual content using a critical discourse approach.

 Strategies such as polarity, positive representation of the insider group, and other negative representations have been used to show the superiority of Kay Khosrow" in the painting "The Conquest of Bahman Castle by Kay Khosrow". The reading of the semantic layers of the work concerning the world around the text shows the implication of this work on the historical events surrounding the painting following the attitude and performance of the Safavid kings. It seems that the reproduction of the mythical narrative of the conquest of Bahman Castle, as the most important epic part of Ferdowsi's Shahnameh, in the political-cultural context of the Safavid era, was a strategic opportunity to depict royal ideals.

 In the painting "The Conquest of Bahman Castle by Kay Khosrow", a kind of trans-temporal relationship can be seen between the narrative of myths and the historical narrative. The addition of "historical context" to "mythical context" is one of the other notable cases in this area. It seems that the reproduction of the narrative of the conquest of Bahman Castle, as the most important epic part of Ferdowsi's Shahnameh, in the political-cultural context of the Safavid era, was a strategic opportunity to depict royal ideals.

During the rule of different governments and the reign of various rulers in Iran, the acceptance of the political and royal text of the Shahnameh and the addition of new meanings through illustrations provided a kind of political-cultural legitimacy for the clients of illustrated Shahnamehs. Throughout the Timurid period and the rule of Shahrokh and his three children, who acted as local rulers and were active in book illustration in the capital or elsewhere, the commissioning of Shahnameh was of special interest. Ibrahim Sultan in Shiraz, Baysunghur, and Mohammad Juki in Herat each had ordered a manuscript of Shahnameh with similarities and differences in their libraries. These Shahnamehs can be discussed in various ways, but the question here is whether these brothers, who all three died before their father and never attained the crown, dreamt of becoming the king? Assuming that the illustrated Shahnamehs are influenced by their contexts of origin, can we find a trace of their desire to be the king in these versions? For this purpose, initially, the political position of the princes and how they were crowned and delegated power in the Timurid period have been studied in historical resources. Subsequently, the commission of Shahnameh and historical books in this family and specifically the three Shahnamehs belonging to these three princes have been analyzed. After that, the three components of court scenes, paintings on the subject of father and son, as well as brothers, have been examined considering the connection between these manuscripts to the issue of power and succession, according to historical reports. In the end, it is shown that these manuscripts of Shahnameh, with the stories that have been chosen to be illustrated, are in the form of a political statement of its patrons and portray their mentality towards the monarchy.

In the discourse of Safavid era, we could see a duality-centered and opposition, placing Shiite Safavids in tension with Uzbek Hanafi and Sunni Ottomans. According to the paradigm of cultural semiotics, it is within this opposition and tension that semantics is taken place. Safavid is regarded within the culture, internal actor, and east neighbors or the enemy within no culture, nature or the other. Since the art is regarded such as a pattern –maker system in cultural semiotics, it could be at the service of discourse and ideology, showing this duality-centered and opposition. One of the most important advertising media along this oppositional semantics at Safavid era, is the illustrated manuscript of Tahmasbi Shahnameh. The seven labors of Rostam's story and its illustration by the artists of this period is a remarkable example of duality-centered, created in the discourse atmosphere of Safavid Shiite government against Sunni religion governments of neighborhoods, showing hero and antihero within an oppositional system, and involved of dominant discourse. The aim of the present research is to analyze the oppositional system of Rostam's seven labors miniatures in Tahmasbi Shahnameh by respecting a cultural semiotics pattern within the discourse dominated on that period and, to answer these questions: How an artist has illustrated the oppositional system of hero and antihero in miniatures of Rostam's seven labors in Tahmasbi Shahnameh? To what extent the miniatures have been affected by the oppositional discourse of Shiite and Sunni governments? The results of research indicate that the oppositional system of Safavid discourse and ideology has been established in the cultural-artistic text of this period and the artist utilized metaphorical description at the service of this discourse for marking the oppositional system. The method of research is historical-interpretive and within the miniature readings, descriptive-analytic one. In addition, the method of collecting the data is through library studies.

AkbarNameh is the firstofficial history ofAkbar's reign,which was written by Allami and illustrated during his time.He described Akbaras having "Fr"Some researchers believe that the images ofAkbar in the illustrated versions ofhis reign are influenced byPersian literature and have the characteristics of aking inthe Iranian tradition.One of the most basic characteristicsof this is"Fr".On the other hand, the interestof the Gorkans in Iranian literature and art caused the migration of the artists ofTabrizII.He went to India and established the Gurkani.According to the contents ofthese questions,how was Akbar's far reflected in the paintings of Akbarnameh?This essay was written with the aim ofinvestigating the characteristics"Fr"ofMandi Shahan inTahmasbi's Shahnameh and AkbarNameh, in order tofind out how the images are depicted in the paintings,and the extent of adaptation and influence of Safavid Tabrizon the painting of Gurkans of India.Inthis regard,firstly,the meanings of the word Far were analyzed based on etymology,then how the appearance of Fr ofShahs in the illustrations ofTahmasbi's Shahnameh andAkbarnameh was examined.theoretical fundamental research method;Based on the descriptive nature;In terms of how to deal with the descriptive-analytical problem,the texts and contents of the materials have been collected and analyzed in the library method.The research samples are limited to two illustrated versions ofTahmasbi'sShahnameh and Akbarnameh and the illustrations have been selected inorder to answer the research questions.Although Tahmasbi'sShahnameh is based on an epic text,and Akbarnameh is based on real life,researches show that Far ofAkbar's character inAkbarnameh has been symbolized bythe influence of Tahmasbi's Shahnameh and influenced by the artistic traditions ofthe second of Tabriz.

Problem Definition: 

Color, as one of the important visual elements, has been the Safavid school artists’ focus. The numerous presence of women motifs in «Tahmasap Shahnameh» shows the high status of women in this period. Therefore, utilizing Max Loescher's approach to color psychology, we can study women's clothes in «Tahmasap Shahnameh». The present research is trying to answer these questions: According to Max Loescher's «color psychology» theory, what relationship did the artist use to draw women's clothes in «Tahmasp Shahnameh»? and “Which of the cold or warm colors has the artist been more influenced by”?

 This research aims to identify the psychological ideas of the Safavid artist in drawing the color of women's clothes in «Tahmasp Shahnameh» based on Max Loescher's theory of color psychology.

 This research is qualitative and its method is descriptive-analytical. The data collection has been done using a library-based approach and through note-taking and reading images and tables as well as data analysis. The sampling method has been purposeful and due to the frequent presence of female figures, among the 258 paintings of «Tahmasp Shahnameh», 2 paintings have been selected for study using the mentioned theory.

 According to Max Loescher's color psychology, the artist of the Safavid era used the relationship of balance between cold and warm colors in using the element of color for women's clothes; in other words, he used both cold and warm color groups to color women's clothes. Regarding the current theory, the researched paintings are more colorful than warm colors in terms of color variety and the use of colors, and this shows that the artist of this period was more influenced by cold colors (blue, green). According to the mentioned theory, gray color, which is considered a neutral color, was not used for women's clothes, and textiles were also used to show the status of women.

In the shadow of the attention of the Safavid kings, various art schools were formed in Iranian painting; The first painting school of this era in Tabriz, with its background from Herat, led to the creation of many illustrated manuscripts, including the Shahnameh of Shah Tahmasab. In the light of the security and attention of the government of Shah Abbas, the city of Estrabad became prosperous and prosperous, and although it could never achieve the prominent position of the art schools of the important cities of that time, it was noticed by the masters of art and became the owner of its style and school of painting. In the Estrabad school, significant works of painting have been identified, most of which are in the British Museum, Topqaposara Museum of Turkey, and Indian Museum, and of course 15 paintings from a copy of the Shahnameh were also found in the Malek Museum of Tehran, which have not been identified and researched so far. The current research aims to identify and investigate the above paintings, in addition to identifying and introducing environmental elements in the paintings of the Estrabad school, some examples of them are evaluated and compared symbolically with the paintings of the Safavid Tabriz school. The present research employed a qualitative method. Selective sampling was employed to choose the samples and data were analyzed descriptively and analytically. The question that current research seeks to identify environmental factors that contributed to the formation of Estrabad school. The selected samples, including five of the 15 paintings in the Malek Museum of Tehran, were examined and compared with the paintings of the same subject as Tahmasbi’s Shahnameh. The results indicate that the Estrabad school has grown though it has been faithful to the experiences and traditions of its predecessors, and besides its unique differences with other art schools of the era, it shows the Safavid intellectual trends in showing glory, power, greatness, and natural gifts. Major environmental elements in the Estrabad school distinguish it from the Safavid Tabriz school and have its distinct environmental characteristics.

The influence of literature on Iranian art, including painting, has long been considered. One of the main features of Iranian painting after the establishment of Islam was its association with Persian literature. In Iranian literature, Ferdowsi Shahnameh has a special place and has been seen in the masterpieces of painters during different historical periods. The detailed and extensive illustrations of the Shahnameh have been a constant source of inspiration for the artist. During the Safavid era, when different schools of art appeared, Shahnameh writing received special attention. The Shahnameh became a vehicle for the expression of Safavid political and social thought. Of the Shahnameh manuscripts compiled at the behest of the Safavid king, none is more valuable than Shah Tahmasb. Among the various paintings of Tahmasbi Shahnameh, there are notable music-themed scenes (with the presence of male and female musicians) in Banquet scenes. The study shows that very few studies have investigated the influence of the visual text of Tahmasbi Shahnameh on the literary text of Ferdowsi Shahnameh on the theme of Banquet and music. The purpose of this article is to analyze Banquet's scenes and musical elements in Tahmasbi Shahnameh's painting "The Feast of Faridun and Kundrau" based on the theory of intertextuality, in relation to the literary text (Ferdowsi Shahnameh). Comparing the musical image "the Feast of Faridun and Kundrau" in Tahmasbi Shahnameh with the literary text in Ferdowsi Shahnameh, it is clear that there are differences in the relationship between in contrast to the general similarity of the scenes and the general narrative. This article attempts to answer the question: What are the similarities and differences between the visual text of the musical scene "The Feast of Faridun and Kundrau" and the literary text of Ferdowsi "Shahnameh"? Did the author of Tahmasbi Shahnameh follow the literary text (Ferdowsi Shahnameh) in depicting the musical scene? What intertextual relationship exists between the musical scene in the visual text (Tahmasbi Shahnameh) and the literary text (Ferdowsi Shahnameh)? The results show that the painters, inserting the literary texts (Ferdowsi Shahnameh) into the visual texts in the form of inscriptions, in some cases used personal creativity to depict the scenes of Banquet. Furthermore, the effect of the visual text in the literary text of Ferdowsi Shahnameh can be seen in the overall theme of the painting, which has an intertextual relationship with the literary text itself. Depicting Faridun on the throne of Zahhak in the center of the frame, the artist clearly and openly refers to the literary text of Ferdowsi Shahnameh. Servants, courtiers and musicians playing instruments directly represent the Banquet ritual in the story of the literary text. On the other hand, by studying images, one can better understand that visual text has different elements than written text. Two important narrative elements, time and place, are present in written text and absent from visual text. The golden sky in the illustration indicates a festive moment during the day, while the literary text indicates an evening celebration. In terms of location, the ceremony took place outside the palace, in nature, while the texts mention a party inside the palace. Kundrau's presence in the castle and his conversations with Faridun are mentioned in the written text, while Kundrau is not seen in the visual text. From a historical perspective, the differences between the types of covering of figures, the shapes of containers and metal objects in pictorial texts and the era of written texts (Ferdowsi Shahnameh). In addition, influenced by the political and social conditions of the Safavid period, Safavid painters included images of five male musicians in the Ferdowsi Shahnameh, each playing a common musical instrument. Musical instruments of the Safavid era. Historical sources such as travelogues and drawings show that the painters of the Tahmasbi Shahnameh reflected the social reality of the Safavid era.

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.

Birds are a symbol of the spirit and soul of the speaker and have esoteric and spiritual meanings in many literary and mystical works and this is because of their ability to fly and communicate in the sky. The bird motif is also one of the motifs that appeared with the emergence of illustrated manuscripts in the history of Iranian painting; it has a significant presence in painting of different periods and is considered as one of the most widely used designs. Among them, the Timurid era in the school of the Previous Herat (version of Baysonghor Shahnameh) and the Safavid era in the school of Mashhad (version of Haft Awrang Jami), have the motif of a bird. The art of Iranian painting and manuscript illustration has had a deep connection with literature from the beginning, and birds are present in the works of great Islamic scholars and thinkers. Birds have taken on a symbolic and mystical load due to their physical characteristics and natural features in the mystical poems and stories of Islamic thinkers. The first example of the presence of the bird symbol in the works of thinkers is in Avicenna's treatise Al-Tair. Other thinkers in whose works the symbol of birds is present include Ahmad and Mohammad Ghazali, Sanai, Attar and Rumi, great mystics and Sufis of the fourth to the seventh centuries AH, who were all born in Khorasan, and only Suhrawardi was raised in Khorasan. Interestingly, Ferdowsi and Jami, whose works are the subject of this study, also belong to the Khorasan region. Greater Khorasan (the cradle of the great mystics in different Islamic eras) was in ancient times a region that stretched from the east to Transoxiana, and from the west to the southeastern shores of the Caspian Sea.  The school of Herat and the school of Mashhad have been related to the region of Greater Khorasan for a period of about 130 years, and both versions of Shahnameh of Baysonghor and Haft Awrang Jami are court and royal versions. Since the Shahnameh of Baysonghor and Haft Awrang Jami both belonged to the Greater Khorasan region, the cradle of art and mysticism in the first centuries of Islam, it seems important that in drawing the bird motif, which is one of the almost constant motifs of Iranian painting, the school of Mashhad could have influenced the Haft Awrang Jami version of the Herat school (version of the Shahnameh of Baysonghor). The purpose of this study is to achieve the symbolic concepts of motif of the bird in these two versions along with formal and structural analysis. The main question is what are the meanings of motif of the bird in the two versions of the Shahnameh of Baysonghor and Haft Awrang in terms of form and symbolism? What are the differences and commonalities of motif of the bird in the two versions? What are the influential factors on differences and commonalities of motif of the bird in the two versions? In terms of purpose, this research is a fundamental research. Research method is descriptive-analytical and comparative, among qualitative research, and method of data collection is library research. The results show that the highest number of the bird’s motif of Baysonghor Shahnameh belongs to Clamator glandarius and Pica pica, and in Haft Awrang Jami, the highest number belongs to Streptopelia turtur and Luscinia megarhynchos. In terms of structural analysis, the bird’s motif of Baysonghor Shahnameh is often not placed on the composition of the paintings, which includes an oval shape and does not have a symbolic aspect in the paintings. In contrast, the bird’s motif of the Haft Awrang Jami is in many cases placed on the composition of the paintings, which often includes a spiral form and in some cases, it has a symbolic aspect. Since the Shahnameh of Baysonghor is an epic work, not a mystical one, and has been compiled and illustrated at a time when the influence of mysticism on painters is not yet evident, it cannot be said that most of its birds have symbolic and esoteric meanings in the world of meaning. In contrast, in version of Haft Awrang Jami, due to the long history of painters, mystics and thinkers in relation to each other, which dates back to the time of Sultan Hussein Bayqara, Behzad and Jami in the late Timurid period and continued until the late Safavid period, it can be said that the painters, by influencing the poems of Haft Awrang's stories and the symbolic background of birds in the works of mystics before their time, tried to create an exemplary world with eternal concepts from the world of truth, and the theme of birds in this regard has benefited.

Ferdowsi's Shahnameh is a collection of stories with universal structural elements, the concept of tragedy in many of them, in accordance with Aristotelian thought, is a part of the content of this valuable literary treasure. The coexistence of the Shahnameh with the art of painting has led to the creation of brilliant and valuable works such as the Shahnameh of Tahmasbi in the history of painting, and the tragic burden of the stories has contributed to the complexity and cultural richness of the paintings. In the description of tragedy, besides Aristotle, other philosophers such as Hegel have presented their thoughts and theories. The present research will answer this question, how is the analysis of Fereydoun and his sons' paintings in Tahmasbi's Shahnameh according to the components of tragedy from Hegel's point of view? The purpose of writing this article is to know the components of tragedy from Hegel's point of view and compare it with the pictures related to the story of Fereydoun and his sons from the Shahnameh of Tahmasbi in order to present a new aspect of these pictures by adapting to the Hegelian model. Based on this, in order to understand the connection between the concept of Hegelian tragedy and the Shahnameh, these paintings have been selected and used in the opinion of the authors because they have the essence of tragedy and the course of the tragic sequence in them. The research method in this is descriptive-analytical, and the information was collected in the form of documents and libraries. The results of the research show that fictions, in addition to having the concepts and characteristics of Aristotelian tragedy, can be examples of Hegelian components. The images on the features of the features of visual and story elements in many cases overlap with the concepts of tragedy according to Hegel. Thus, these paintings can be analyzed not only based on Aristotelian thought, but also based on the concepts of Hegelian tragedy.

Among the visual signs in epic books that are used in battles and sometimes in mourning ceremonies is the flag. Flag or Alam is one of the signs that can reveal the religious and political thinking of an era. Therefore, by examining the sign in the paintings, the cultural, social, and political contexts of each period are revealed. The signs on the flag and Alam are sometimes symbolic and allegorical and can be a symbol of a family sign and derived from a special traditional and historical thinking. Since flags and Alam are basically the sign of a particular state or people, their presence in the paintings is of particular importance. Therefore, it seems that the motifs and pictures used in Alam and even the smallest details of Alam are not without influence in introducing the identity of that people or nation. Considering the importance of the flag in each period, it seems that the shape and color of the flags used in the Shahnameh of Davari were not without reason, and the examination of these motifs can express their thoughts about a nation or group in the Davari Shahnameh. In the Shahnameh of Davari, most of the flags of this Shahnameh are decorated with lions and suns, as well as the pole or the head of the flags in the pictures of this Shahnameh are sometimes in the form of dragons, birds, cedars, plant, and hand motifs. Meanwhile, the motif that is more interesting than other motifs is the hand or paw motif. Since the flags represent a special group to which this element belongs, and considering that the Shahnameh deals with pre-Islamic narratives, the question is, what is the reason for using the shape of the hand in the pole or the head of the flags?  What is the effect of the symbol of the hand in flags and flags on understanding the meaning?
This research is based on the descriptive-analytical nature and is based on the fundamental goal. The analysis of the images is based on the iconological approach. In the Shahnameh of Davari, out of a total of 68 images, 28 images have Alam and flag motifs. In the meantime, in 19 pictures, signs are seen with symbols of handprints, and the analysis has been done on these 19 signs with emphasis on the tops of the Alam. Also, research information has been prepared in a library manner. The findings of the research show that in the illustrated Alam of Davari Shahnameh, which was done by Lotf Ali Shirazi, There are hand marks on most of the Alams or flag ; So according to the time of creation of the work and the discourse of the Qajar period. It seems that the use of hands in these flags and Alam indicates the helping hand of Hazrat Ali (AS) or, according to Drovil, the hand of Hazrat Abbas or Hamsa. If any of the mentioned cases are accepted, it can be said that the use of the hand in the flag or Alam in the Shahnameh of Davari shows the support of Islam for the fighters in the Field. The use of the lion and the sun, which becomes the national emblem, shows the place of the ancient discourse in this period. There fore, it seems that by combining these two roles, Darfashi expresses a Darfashi that shows both the prosperity of ancient Iran and Islam. Anyone who has this door somehow has both Islamic power and Iranian power. Lotf Ali has created a text in which most of his heroes have such characteristics. According to the reviewed texts and the description of the Ghorian war, it seems that this thought was widespread in the Qajar period, consciously or unconsciously. Therefore, the hero and victor of the field in most of the images of Davari Shahnameh is the one who carries a flag in the shape of a "hand". Due to the prevalence of Ta'ziyya in this era, the painter had a Shiite interpretation of the paintings. Even though the story of the Shahnameh is depicted from ancient Iran, it is the presence of the hand that gives the hero extra power.Therefore, the liberating and helping force for the hero of the narratives is the hand of Hazrat Abbas and an Islamic force. Although archaism is one of the dominant discourses in this era, but the influence of ta'zih and mourning ceremonies has caused this element to be included in pre-Islamic narratives as well. Therefore, the painter introduces someone who is victorious in his paintings, who has the Islamic power more than he has any religious influence. In a way, the painter considers the Islamic force that emphasizes Shiism to be the support of the heroes of the Shahnameh and ancient Iran.

In Iran during the Islamic period, wooden arts had an important place among Islamic arts, examples of which are kept in museums and historical centers. One of the most important periods in Iranian art history is the Timurid period. In this period, all kinds of arts progressed and reached a high position. One of the prominent arts of the Timurid era is wood art. One of the other popular arts in the Timurid period was book design. In this period, illustrators had a special position in terms of the power of book illustration. The painting school of this period is known as the Herat school, and among the illustrated works, Baysunghur Shahnameh is considered one of the most perfect examples of the art of this school, and it is of great importance in terms of book design and artistic value. A work left over from the Timurid period was created in Herat by a group of prominent artists. This version’s illustrations include a collection of wooden tools within their spatial designs. A collection that provides the audience with important information about Timurid-era wooden arts in Herat city. The abundance of wooden art in the paintings of the Baysunghur Shahnameh shows the prosperity of these arts in Herat during the Timurid period. This research aims to identify and analyze the position of wooden art in the illustrated version of Baysunghur Shahnameh. This research examines the frequency and use of wooden works in paintings, distinguishing them from other forms, and their significance within the broader context of artistic works. This article employs a descriptive and analytical research method with a library data collection approach. The wooden works drawn in the spatialization of the paintings include royal thrones, chairs, doors and windows, fences, coffins, caskets, musical instruments, and spinning and weaving machines. The recognition of these works in the paintings initially relied on their use, followed by an analysis of their role and color. Most of these works can be classified under applied arts, and some can be classified as decorative arts due to their artistic decorations. many of these works have been used in the illustration of building elements (such as doors, windows, fences, etc.) and some others have been illustrated on other objects (such as beds, chairs, tables, musical instruments).

The nature of narratology in the field of picture, since it has a distinctive appearance compared to other visual areas of the narrative, is clearly different from other fields. The difference between a pictorial narrative, such as a painting or a miniature, and literary or cinematic narratives is in the momentary nature of its presentation. In such a way that there is no time sequence in their narrative. In a general definition, narratology is the study of narrative and narrative structure, as well as the methods that affect human perception when faced with it. The origin of narratology goes back to Aristotle's theories about the science of speech. Nevertheless, it is accepted that modern narratology was initiated by the Russian formalists, especially Vladimir Propp and Mikhail Bakhtin's theories of heteroglossia, dialogism, and chronology, first introduced in his book; The Dialogic Imagination: Four Essays (1975). In general, the narrative has been proposed as a description of two separate events, and theorists have been discussing the form and context of narratology for a long time. Meanwhile, Tahmasbi Shahnameh is one of the most well-known collections of narrative paintings in Iranian culture and art, which has a strong link with the classical literature of Iran and expresses the stories and events of the Shahnameh in the form of pictorial narration.Tahmasabi Shahnameh illustrations are one of the examples of visual reading of the Shahnameh narration in the form of pictures. In this research, it identifies the path of transformation between pictorial text and literary text of Shahnameh through the narratological analysis of one of Tahmasbi Shahnameh miniatures titled "Zahhak: The legend of the Serpent King", and since one of the most used motifs in this illustration is the horse, therefore, this article emphasizes on this motif. In this article, taking into account that the essence of narrative studies is in the field of imagery, which is different from other visual fields of narrative, an attempt has been made to analyze and examine the image of Zahhak Mardosh, emphasizing the role of the horse motif. Zahak Mardosh's painting of Tahmasabi Shahnameh, which belongs to the Safavid period, is one of the examples of visual expression and narrative painting. Due to the abundant use of the role of the horse in this painting, the role of the horse has been emphasized in the analysis of its visual narrative. In this picture, which refers to the tying of "Zahhak" in a cave, it represents the story of "Zahhak: The legend of the Serpent King" in Ferdowsi's Shahnameh from the perspective of visual media. The fact that a story can be told in different media is one of the basic claims of narratology, and in this article, he tries to analyze the visual narrative of this picture by examining two active and responsive elements in this picture. In general, visual narration originates from the assumption that individual images are capable of evoking stories or implying meaning, but for storytelling in the strict narratological sense, a specific path must be determined, which can be achieved by creating semantic bases from two factors: the active and responsive. Therefore, in order to find semantic implications during the analysis of the narrative of visual expression, attention should be paid to this issue. So far, the studies on the visual format of narratives have been limited to studies on the structural composition and coloring and the relationship between the components of the visual elements of the image, and less attention has been paid to the concepts of the semantic implications of the images based on the theories of narrative theory. Considering the few studies in this field, the necessity of research in this case requires that more attention should be paid to the discussion in this field. In this way, the purpose of this article is to study the narrative role of the horse in the painting of "Zahhak: The legend of the Serpent King" by using visual cognitive narrative analysis to identify the two elements of the active and responsive parts and to identify the signs of the pictorial narrative and to find the visual semantic implications of the text of this story in this painting. This article is focused on the different way of expressing the visual meaning of this painting with the literary text of Shahnameh. It should be noted that since one of the most widely used motifs in this painting is the motif of a horse, the motif of a horse is considered one of the important visual elements in relation to the semantic implications in the narration of this story. The nature of this research is of a basic type that has used the descriptive-analytical research method and examines the role of the horse in the painting of "Zahhak: The Legend of Serpent King" in the Tahmasbi Shahnameh. The aim of the research is to identify and analyse images and how they relate to the narrative text in Ferdowsi's Shahnameh. In addition, in the context of the destination, a picture with the same title is considered in the Shahnameh of Shah Tahmasab. Finally, they are compared in two different mediums of Iranian literature and painting. The research questions are: To what extent are the signs of the pictorial narration of the Miniature of "Zahhak: The Legend of the Serpent King" in Tamasabi Shahnameh compatible with the expressive signs of the Shahnameh? How has the meaning transformation in the process of transforming the text of this narration into a picture in the miniature of "Zahhak: The Legend of the Serpent King"? In this way, in the first part of this article, the analysis of the visual narration of the story of "Zahhak: The Legend of the Serpent King" is discussed, and then, the perception of semantic implications from the visual media in this image is examined. In the other part, the structural analysis of the narrative is done, in order to analyze this image, hypothetical lines have been drawn in connection with visual elements and the relationship between these elements has been identified. In this way, two active and responsive parts were defined and the position of each element in these two parts was determined. Therefore, the layers of Shahnameh narrative in this painting are extracted based on two components: active and responsive part. In this way, in the narrative analysis of "Zahhak: The legend of the Serpent King", two active and responsive factors were identified, which are simultaneously with the narration of the story, these elements, which are parts of the trajectory of "Zahhak: The legend of the Serpent King", with the constant variable of the visual expression of the story, which is the role of the horse. They have established a close relationship. In such a way that in the visual reading of the components of the composition of the picture from the painter’s point of view, the main core of the picture is drawn on top of the picture, in a way that dominates the role of other elements. The role of horse motif has also been introduced as an active factor in the story line of this narrative, which in the study of composition and colouring of this motif role, has connected with the responsive elements which are the scenes of the story. Therefore, the role of human elements has been introduced in this picture as a part of the responsive elements. The results show that in the representation of hypothetical vectors in the illustration of "Zahhak: The Legend of the Serpent King", this miniature is divided into two active and responsive parts, which connect the components of the picture horizontally, vertically or diagonally. Therefore, the horse motif as an active factor gives shape to the components in the image. In the end, in extracting the layers of Shahnameh's narrative in pictorial form, in addition to the represented visual elements of the story, attention has also been paid to the type of interactive elements in the form of two active and responsive agents.

The works that are placed in the field of visual arts can be examined and studied with a narratological approach. In the realm of visual arts, Persian painting includes characteristics that make it possible to use the approach of narratology. One of the most important and interesting features of Persian painting works is the strong connection these works have with text and literature. Especially by examining the history of Persian painting, it becomes clear and more clear that Ferdowsi's Shahnameh has played a significant role in the formation of painting works, and in many aspects, the works of Persian painters are indebted to the epic poems of the Shahnameh. It seems that the Persian painter has turned the poems and meanings in the literature into visual elements and expressed them in this way. One of the prominent works in Persian painting is Baysunghur Shahnameh, which was illustrated during the time of Baysunghur Mirza. One of the most interesting pictures in this version is the picture of the Arjasb Being Killed in Roeen Castle by Esfandiar. It is necessary to examine painting works from the perspective of theories; therefore, the aim of the present study is to analyse this painting from a narratological point of view, and in this regard, it faces the question of how to analyse the narratological painting of Arjasb Being Killed in Roeen Castle by Esfandiar? The research method of the present study is descriptive-analytical. In this research, The Narratological Analysis of the Painting of Arjasb Being Killed in Roeen Castle by Esfandiar, has been investigated. Therefore, firstly, the approach of narratology is examined and then the work is analysed based on the structure of this theory. In this research, the information has been collected in a library and organized in order to answer the research question. Narratology is the study of the system governing narratives and revealing the internal relations and relationships governing the narrative. In the current study, the picture of Arjasb Being Killed in Roeen Castle by Esfandiar has been analysed. The mentioned painting includes the plot and characters such as Arjasb, Esfandiar and his sisters. Arjasb kidnaps Esfandiar's sisters using trickery and captures them in his palace. In order to save his sisters, Esfandiar disguises himself as a merchant and enters Arjasb’s Palace. After a fight with Arjasb, Esfandiar kills him and frees his sisters. Distinguishing between the text and the outside of the text is one of the fundamental principles of the analysis of narratives. In this regard, it is necessary to pay attention to these things: considering the material that constitutes the narrative, paying attention to the internal organization of the text and not outside the text (that is, the relationship between the text and its context) and answering the question, how does the text work? When the distinction between inside and outside of the text is considered, another distinction can be considered between the levels of analysis inside the text. This classification consists of the world of the story, the act of narration and the objectification of the text. The world of the story refers to the content. This content includes time and place, story, fictional characters, etc. In the painting in question, the plot is Esfandiar going to Roeen Castle, freeing his sisters and finally killing Arjasb. The main characters depicted in this work are Esfandiar, and his sisters. The place where the story takes place is Roeen Castle, where Esfandiar went to free his sisters from Arjasb. Based on the existence of multidimensional space in Persian painting, several different times are shown together in this work, which shows Esfandiar's entry into the palace to his battle with Arjasb and killing him. As it is seen in Persian painting, in this painting the subject is drawn from the top view angle and the painter has connected the outer and inner spaces with each other by using geometrical relationships and color. In this painting, relationships and geometric composition play a key role in unifying this work and influencing the audience. In fact, this feature can be seen in paintings with building elements, especially in the Herat school. As mentioned earlier, the main subject is depicted on the upper and right side, and because the main subject of this work is the killing of Arjasb by Esfandiar, the painter uses oblique lines to direct the audience's gaze to the main subject. With the use of diagonal lines that form the ruling lines of the painting, in addition to defining a suitable place for Esfandiar's two sisters in the work, the artist has given special importance to the main topic, the conflict between Esfandiar and Arjasb. It also shows the predominance of oblique composition due to the unstable position of Arjasb. While the painter has tried to show Esfandiar's firm determination by using the vertical doors that appear frequently. In this work, the type of use of the crossbars above the head acts as an arrow and directs the viewer's vision to the battle site. The chevron shape of each door (like the shape of a very elegant and innovative bridge) implicitly directs the viewer's eyes towards the climax of the incident (the battle scene). Each of the surfaces, while having complete purity and brevity, also carries its own appropriation of color and establishes a harmonious bond with each of the shapes placed next to and around it. The whole image is in balance with the subject and has mobility, and a unique combination of lines, patterns, colors and surfaces has been created in relation to an epic subject. The researches of Vladimir Propp and later Algirdas Julien Greimas had important achievements for the analysis of narratives. In this regard, we can mention the activist pattern. In the activist pattern, six cases are mentioned: the sending or stimulating actor, the receiving or benefiting actor, the active actor, the valuable object actor, the inhibiting actor and the helping actor. In this painting, Esfandiar is the active actor who takes action and goes to Arjasb’s Palace. Since the actor can also include an abstract word, the freedom of the Esfandiar’s sisters can be considered as a value object, which is the goal of the active actor. Also, the Esfandiar sisters themselves can be considered as receiving actors or beneficiaries who benefit from the active action of the actor. Also, Arjasb can be considered as an inhibiting agent, which is considered as a kind of obstacle for the active subject, namely Esfandiar. According to Propp, the definition of narrative is the change of an event from one part to another. He calls these changes events. In continuation of Propp's work, Greimas has tried to provide a simple and abstract model for the events. In these theories, the initial, middle and final part and the change and transformation formed around the destructive force, the dynamic element and the organising force are fixed. The first part of the narrative shown in this painting is Esfandiar's entry into Arjasb Palace. As it can be seen in the center of the image, the middle part includes the release of Esfandiar's sisters. Also, the last part of this picture, which is shown above and on the right, is the killing of Arjasb by Esfandiar. In this picture, the conflict between these two can be considered as an organising force. Also, the destructive force is not mentioned in this picture. Esfandiar’s going to the palace to rescue his sisters, who were captured by Arjasb, and the conflict between the two of them, which ultimately leads to Arjasb death by Esfandiar, is the plot of this work. The findings of the research indicate that the place of the narration is Roeen Castle, and due to the multidimensional space, several times can be seen in the work. Also, from the point of view of the actors’ model, it can be distinguished as active actor (Esfandiar), recipient actor (Esfandiar sisters), valuable object actor (Esfandiar sisters' freedom) and restraining actor (Arjasb). The sending actor and the helping actor are not seen in this image. In addition, we can mention about this work the initial situation: Esfandiar's going to the palace, the intermediate situation: freeing the sisters and the final situation of the conflict and killing of Arjasb. In addition, the battle of Esfandiar and Arjasb can be considered as an organizing force. In general, the picture of the killing of Arjasb in Roeen Castle by Esfandiar displays characteristics that provide the possibility of narratological analysis.

Ferdowsis Shahnameh is the precious heritage of the ancient history that its composer has expressed in verse the events of the period in detail by keeping trustworthiness. Ferdowsi has discussed about policies and the events of the first Khosrow – who is considered as an ideal royal knowledge – in detail in Shahnameh. His description of fiscal reforms of Khosrow Anushirvan (531 – 579 AD) is very valuable like reports of classical Islamic texts so that a lot of data of those texts concernin fiscal reforms of Anushirvan exists in Shahnameh and some data has only narrated by Ferdowsi. This article aims to investgate the value of Shahnameh historical details and data concerning fiscal reforms of Anushirvan and its comparative assessment with the other classical Islamic texts and express their similarities and differences by emphasizing on Shahnameh of shah Tahmasb that has been analyzed by using library analytical – descriptive method. Ferdowsi has exactly addressed fiscal reforms of the first Khosrow and provides us with unique information concerning fiscal rates, quarterage tradition, method of imparting reforms, etc. Shahnameh is superior to same classical Islamic texts and sometimes does not speak about a subject such as the establishment of new Divan.

In the belief of the ancient Iranians and sources, such as Bondeheshn, Mashi and Mashianeh are the first human couple in the first creation and have human-plant characteristics. In the text of Shahnameh, have been quoted poems from a talking tree with human-plant characteristics in the story of Alexander in Conversation with Wak Wak Tree and a painting is illustrated with the same subject. The importance of human-plant property in both cases necessitates the present study. The purposes are to identify the characteristics of Mashi and Mashianeh in Persian mythology and ancient sources and to identify the characteristics of Wak Wak Tree in the poems and painting of Alexander in Conversation with Wak Wak Tree in the Demot Shahnameh and their similarities and differences.Research questions include: 1- What are the visual and structural features of Mashi and Mashianeh in the Persian mythology and the Wak Wak Tree in the poems and painting of the Shahnameh of Demot? 2- What are the similarities and differences in their form and meaning of them?In order to answer the questions raised, first the myth of the first creation and the characteristics of Mashi and Mashianeh have been studied and then the talking (Wak Wak) tree is analyzed. Then the painting of Alexander and the talking (Wak Wak) tree in Demot's Shahnameh and the characteristics of this tree have been studied, and finally, the characteristics of Mashi and Mashianeh and the talking (Wak Wak) tree are compared to the painting of Alexander and the talking (Wak Wak) tree. In the present research, library information and documentary and visual data have been studied and compared with a descriptive-analytical and comparative approach, and the cases studies studied in the research include the painting of Alexander and the talking (Wak Wak) tree in the Shahnameh of Demot, which has the characteristics of Mashi and Mashianeh in mythological and Iran ancient sources. The results of the research show that Mashi and Mashianeh in mythology and the talking (Wak Wak) tree illustrated in Demot's Shahnameh painting, both have human-plant characteristics.However, Mashi and Mashianeh have a plant identity of the type of rhubarb plant with broad leaves, while the talking (Wak Wak) tree in the painting and in the poems of the Shahnameh has the characteristics of a tree and does not have the characteristics of a bush. The tree in the painting has long leaves. Moreover, they have the power of speech in both humans-plants, Mashi and Mashianeh and talking (Wak Wak) trees and the appearance of both cases are described with two separate roots and twisted stems.  The gender identity of none is clear and this feature is common in the painting and poems of the Shahnameh and ancient texts. In the painting, the gender identity of the faces is not clear and the elegance of the faces is almost the same.  Mashi and Mashianeh are a human couple and two fruits of the same plant and in the poems of the Shahnameh, the talking (Wak Wak) tree has the identity of a human woman and a human man, while in the painting, the tree is depicted with human male and female heads and male and female animal headsbecause Mashi and Mashianeh had one female face and the other male face and the words female and male are used in the poems and the multitude of these faces has not been mentioned. Furtheremore,, in the Bondaheshn, Mashi and Mashianeh are described as standing with their hands on their ears and this situation is not seen in the poems of the Shahnameh and in painting of the Demut's Shahnameh. In general, from this comparison, it can be concluded that the talking tree originated from the ancient creation myths of Mashi and Mashianeh and it is another form of the first human couple.  It has appeared in the form of a talking (Wak Wak) tree in the poems of Shahnameh and Iranian art over time.