Interpretation of semiology of the colour based on philosophical foundation Islamic Persian painting

The colours on the Islamic Iranian paintings, are the signs of sacred and divinity cosmos in which, the light of God has the main role. The openness of artist’s heart to view the “mundus imaginalis” is the reason of being the colours as above mentioned. The topic of this article is interpretation of semiology of the colour on Islamic Iranian painting based on philosophical foundations. The main purpose of this article is analysis and interpretation of the colour as a symbolic sign (according to pierce concept) on Islamic Iranian painting. Method of this research is based on descriptive research, which provided through library documents. The colours of Islamic Iranian painting are the symbols and codes of divinity cosmos named “mundus Imaginalis”, which signify philosophical and spiritual concepts. The results of this research indicating of the effect of spiritual conception of Islamic mysticism and Farrahi philosophy of ancient Iran, which have caused the artist used spiritual meanings for the colours as the signs of “Mundus Imaginalis”. Colour on Islamic Iranian painting is a symbol and code for mimesis of the truth of the cosmos of light. The hypothesis of this article is based on using Peirce semiology and his definition of symbolic signs which might be interpreted and definned the significations of semiology of colours in Islamic Iranian paintings by referring to the philosophical and gnostic meanings. Semiology is the science in which the main purpose is the cognition and analysis of the signs and symbols. From peirce point of view, anything which determines something else (its interpretant) to refer to an object to which itself refers in the same way, is a sign. The relationship of sign and signification introduce the “Text”. The text as defined, is a recorded message, Any text could be a system of signs.In this article, Islamic Iranian painting considered as a cultural text in which the colours are a system. of sign, bearing with philosophical meanings and significations derived of Islamic Iranian mysticism. Semiological approch of Islamic Iranian painting towards interpration and analysis meanings of the signs of colours could be a new study on relationship between traditional painting art and Science of Semiology. It may cause a Viewer has the same sense as sofi artists had experienced. From this point of view, what the viewer would see intuitively is cosmos named “mundus imaginalis” as seen by artists. the study of data in this research indicating although the colours of Islamic Iranian paintings reflect seemingly the natural colours but artist’s purpose has not been studied the physics of colours, and on the country artist has intended to represent the cosmos of “mundus imaginalis”, in which the colours and images are made of divine light. Persian painter could have concluded that, in order to immortalize the paintings throughout history, have choose imitation of the truth and examples of eternal, because the truth could not be antiquated and lasted for perpetuity. Artist choose gloss, brilliance and purity of colours to being reminiscent of the lights of pure divine.