Intertextual Reading of Form and Color in the Artworks of Masoud Arabshahi Based on Gerard Genett's Opinions

The theorists of Intertextuality believe that there is no original text. Therefore, Masoud Arabshahi's artworks are akin to other works based on previous texts. Masoud Arabshahi is one of the contemporary artists who has drawn from various pretexts in the form and color of his artworks. The use of these pretexts can be recognized through intertextual relationships. In this research, which explores the 'intertextual reading of form and color in Arabshahi's artworks based on Gerard Genette's opinions,' different aspects of text and intertextuality, as well as the theorists of this approach, especially Gerard Genette, are elucidated. Subsequently, Arabshahi's artworks (12 samples), which have been categorized and purposefully selected, are analyzed, and the types of Genette's intertextuality (intentional-overt, intentional-hidden, and implicit) in the form and color of these artworks are specified. This research is qualitative and follows a descriptive-analytical method. It employs basic theory and reasoning to explain the relationships and understand the components of a visual work, conducted in the form of reading texts and documents. This research seeks to answer the question of which pretexts Arabshahi's artworks have utilized in form and color, and how intertextual relationships, based on Genette's theory, are employed in his works. The results indicate that Masoud Arabshahi has made more use of the pretexts from ancient Iranian and Mesopotamian arts in his artworks than other pretexts. Additionally, the use of earlier texts has gradually evolved in Arabshahi's works, transitioning from overt intertextuality to hidden and then to implicit.