Semiotics of post-revolutionary wall paintings (Case study: Tehran)

In this article, using the semiotic approach, the meaning of graffiti works or murals in Tehran has been discussed. It is a qualitative method that is equipped with a critical and semiotic approach to re-understand urban expressions in order to go beyond the expected meanings of urban murals and with the help of semiotic techniques to graffiti as a social reality. Reach. In the theoretical framework of the theory of representation of reality and also the analysis of discourse as two critical theories that believe that our understanding of works of art is always achieved through the mediation of various factors and those factors in predetermined forms and forms try to be real the findings of the article show that murals as part of the body of the city have always been a point of contention between public space and power structures. The municipality, as a part of its power, considers itself the owner of the city walls and has always sought to legitimize a part through the mythology of concepts, and in the process has marginalized various dimensions of urban reality, so along with painting. Formal murals there are always informal paintings that reflect various areas of urban life. The objective example of this type of painting is the role of women in urban murals.