As one of the sub-branches of the semantic deviation, visualization tries to examine the aesthetic features and elements of literary texts, and has an inextricable relation with rhetoric and the literary figures of those texts. As a way to express the abstract and the mental concepts, visualization tries to portray these concepts as the concert and tangible images in literary texts to make them appear dynamic and alive. Concerning different dimensions, either its form or content, Nahj-al-Balaghe has got a tight connection with the Quran. It means that Imam Ali(AS) has taken into account the aesthetic and the elevated language of the Quran to express his own thoughts and his epistemological concepts. It is why much of the Quranic literary images have been overtly reflected in Nahj-al-Balaghe. In his elevated use of speech, Imam Ali goes so far as his coherent and interwoven speech becomes identical with divine speech so that in his speech the texts and the inter-texts become identical. This paper aims to study the Quranic visual images in Nahj-al-Balaghe in the light of the semantic relations of deviation. In this sense, the Quranic visual images that are portrayed in the forms of anthropomorphism, animism and physicality, are analysed and evaluated in Nahj-al-Balaghe to show that how these kinds of visualization become functional in the context of Imam Ali’s speech. It seems that animism in comparison to other kinds of visualization has got a higher frequency.

Contemporary semiotic knowledge seeks to study the signs and languages of communication, both verbal and verbal. Visual forces in visual arts are an example of communication languages that are capable of transmitting information that is sometimes out of the question. Certainly, the Holy Qur'an, as the highest written miracle, has, in addition to its linguistic codes, also used some of its visual arts to transmit divine message. Accordingly, the present research tries to examine it as a sign of communication using the descriptive-analytical method and the methodology of semiotics while revising the story of Adam in two surah Baqara and Taha's visual forces and linguistic codes. And to show the role of the stories of the Qur'an as a subjective universe in how to create a visual narrative of a verbal narrative. The study of Quranic data shows that The companions of visual arts can draw from the story of Adam various visual forces such as contrast, evolutionary repetition, angle of view, Kadrage, etc. as non-verbal signs, As well as focusing on the meaningful use of lexicals such as "Hobut= Down", "Naba= News", definitions, etc. as words containing visual forces, ultimately create a dramatic visual narrative from a pure verbal narrative as a raw material of visual arts.

As a result of the establishment of the printing industry in Iran during the Qajar dynasty, more religiously significant works were made available to the general people. Most of the lithographic religious books focused on the Ashura event and the tragedy of Karbala. Dhakirs, Maddahs (religious singers), and Ta'zieh tellers used different texts and muqatils in Ashura ceremonies and rituals.The illustrators of religious literature also played a significant part in elucidating Ashura narratives, using various visual techniques; they provided the audience with a concrete and visual perspective of the Ashura description. Within the popular culture of the people, these books exhibited imagery inspired by religious beliefs, which drove the development of a distinctive style in lithography's design.The lithography in the preeminent scenes of these versions may be studied and explained using narrative sources. In the meantime, specific illustrations were made by made-up customs or widespread myths surrounding the Ashura incident, which frequently referred to lines from Safavid and Qajar literature.The word narration in this context refers to communicatiON; however, because speech may be transmitted to others by narrating, the word narration is also used to refer to words and speech in its secondary definition (Porseman website, representative of supreme leader institutions in universities, 2018). The term "Islamic narrations" refers to written passages and quotations that have been passed down to us from reliable narrators throughout the history of Islam. These narrations are one of the study sources used in this research.For a deeper comprehension of the events of Ashura, we need to consult narrators with integrity and sensitivity. Without favoring popular citations, authentic Ashurai narratives serve as a foundation for enlightenment. These resources are worthwhile and practical for authors, poets, and artists working in the Ashura genre. The analysis of the images is based on two images from the book Asrar al-Shahadat, one from the book Tufan al-Boka and one from the book Vasilat al-Nejat.This study also aims to evaluate the images of Imam Hussein’s martyrdom and his encounter with Shemr as illustrated in three old and dated lithographic versions of the books “Toufan Al-Beka’” (1853), “Wasila Al-Nejat” (1867), and “Asrar Al-Shohada” (1851) available at national libraries. The research objective includes a thematic and visual review of related images in the three intended versions. Meanwhile, the research questions are: How do the images of these versions portray the Islamic concepts and narrations related to the martyrdom of Imam Hussein (PBUH)? Moreover, how are images characterized by the visual features that describe Imam Hussein's martyrdom in the versions?In order to obtain the description of the relevant events and the increase of historical and hadith sources, some of the mentioned sources have been referred to more because of their age, validity, comprehensiveness, and continuity, such as Akhbar al-Taval by Abu Hanifa Dinawari, Tarikh al-Tabari (History of the Prophets and Kings), al-Fotouh by Ibn A'tham, Al-Amali by Al-Shaykh al-Saduq, al-Ershad by al-Shaykh al-Mufid and I'lam al-Wara bi A'lam al-Huda by Shaykh Tabarsi.The present research does not suggest the methodology of hadith studies in the paintings. However, it focuses on how the paintings reflect the pertinent themes in various written sources and what visual techniques have been employed to portray the martyrdom of Husayn ibn Ali.Husayn ibn Ali's Martyrdom convention was one of the significant occasions that drew the attention of authors and illustrators. This issue is specifically addressed and frequently has more critical information and larger dimensions when viewed in the images of the Ashura manuscripts in the National Library of Iran. The names being considered, however, were designed differently from the pictures' subjects; for instance, the word "battle" was registered for the martyrdom scene. Therefore, it is evident that the titles were introduced by scribes, while the designers did not adhere to them and functioned autonomously. In defining and embellishing the story depicted in the painting, the artists used their imagination to add details or even to design additional narratives beyond the book's text.In images depicting the scene of Husayn ibn Ali Imam's martyrdom, several tales accompany the depiction of this event. The attack on Husayn ibn Ali, his falling to the ground and facing Shimr ibn Dhi 'l-Jawshan, has been the focus of the illustrators, and our study has also addressed this crucial incident.In the scenes depicting the Imam's martyrdom, his turban was covered with blood when an arrow struck his forehead. Most prior versions focus on the sword strike to Husayn ibn Ali's head and do not mention the arrow; however, these images emphasize the arrow to the forehead. Recent works like Rozatol Shohada and Bihar al-Anwar show this topic more. In Vasilat al-Nejat, Shimr attacks Imam from behind with a dagger, a spear pierces his chest, and three of his troops fall to the ground. Enemies surrounded Husayn ibn Ali, as recorded in numerous hadiths.The narrator-illustrator portrayed Imam Husayn as heavily arrowed and lying on the ground. According to the accounts, his body was covered with arrows, and his enemies stood before him. Imam Muhammad al-Baqir describes the frontal wounds of Husayn ibn Ali Imam, indicating that he never turned his back on the enemy.A teen boy who stands with Husayn ibn Ali and rushes to the battlefield to support the Imam is described in specific versions, including Tufan al-Boka and Vasilat al-Nejat. The phrase "teenager" appears in most sources, and the images show a handsome teen.In contrast to Husayn ibn Ali's facial covering, his foes are the most enraged and anxious. Their eyes are round and protruding; they have enlarged noses and unruly beards with clenched teeth. Ubayd Allah ibn Ziyad's face is represented by a white beard, large ears, and anxiety. Long horizontal mustaches projecting from the face indicate enemies in a condition of breakdown or inflammation, similar to the visage of Qajar executioners with long mustaches and hostile expressions.Imam Husayn ibn Ali in full view, with head and body from the front and hands and feet from the sides, is the optimal design. One hand is raised to symbolize stance and determination, while the other holds a straight or angled spear. The direction of the Imam's spear is in opposition to the direction of the other lines in the painting, highlighting his static stature and larger size than the other figures.To symbolize Imam Husayn's distance from the war, he is depicted in most paintings without complete warfare equipment, such as a bow, arrow, shield, dagger, or sword. Unlike other characters, his weapons are placed on the ground or in sheaths. Zaynab bint Ali's hijab in Vasilat al-Nejat is a light-colored, long, fringed veil similar to the Qajar women's veil with loose, fringed leggings beneath and a short veil, but Qajar veils are long and narrowly laced. Zaynab bint Ali and other women, Sakina Bint Hossein and Umm Kulthum, wear full veils, and their faces are covered with cloth for their dignity.The results from this qualitative research, which uses a descriptive-analytical method and falls under documentary categories, refer to visual indicators and Islamic narrations about the martyrdom of Imam Hussein (PBUH), with some of which being credible and others taken from public beliefs of the Qajar era and the illustrator’s mind, without any credible narrations. These images have been shown to represent the narrations in agreement with the martyrdom and sacrifice in various visual forms, which are consistent with the Shia concepts and beliefs; the images are also represented by the design method, covering and tools, painting, structure and configuration and themes pertinent to the event.

The discussion of architectural beauty has always been a concern of artists, architects and even philosophers, so there are different views on this subject, which sometimes do not have much in common with each other. In the early 20th century, in order to overcome these disputes, many artists tried to find principles for beauty in the visual arts such as painting, sculpture, architecture and other visual arts that were sometimes newly created. The culmination of the study of professional visual communication in the first half of 20th century was by artists such as Vasili Kandinsky, Paul Kelly, Mowholney, George Caps, Joseph Albers and their followers. Some of them were Bauhaus artists and theorists. By studying the characteristics of the visual elements, these people categorized and analyzed this aspect of visual arts. Almost simultaneously with the studies on the basics of visual art, some European psychologists found a way to discover the visual perceptions of mankind called Gestalt. The goal of all these efforts was to define a benchmark for recognizing the beauty that was needed due to the creation of new artistic disciplines, some of which were baseless and absent from beauty. Today we know result of these efforts, as the basics of visual arts. In this article we have considered Charles Johnson's nine principles for visual beauty, which include: 1- the fit, 2- the contrast, 3- the balance, 4- the harmony (composition),5- the variety, 6- the rhythm, 7- the variation in rhythm, 8- the movement and 9- the dominance of the focus point. From the view point of aesthetically, for the vast majority of people, the traditional architecture is in a position of superiority to the modern examples. This research by analysing the Boroujerdi house (which presented by UNESCO as a superior example) based on principles of knowledge of the basics of visual arts, tries to address the reasons for the visual superiority of traditional Iranian architecture. We work in descriptive-analytic method and used mathematical software PhiMatrix, for detect golden ratio in facades. The general process of work is that after proving the possibility of analyzing two dimensional images instead of three dimensional spaces and presenting the principles of visual enhancement. A number of images related to the main views have been analyzed to prove these principles. Based on analyzes obtained from the case study, these nine principles are extremely well observed in this house. It seems that the full observance of these visual rules, which all human beings unconsciously recognize, are the criterion of aesthetic perception; is the reason for choosing this home by tourists as a superior example. We see that such interdisciplinary research in the future could lead to a proper definition of beauty in architecture.

In this descriptive-analytic study with data and images collected through library and virtual methods, a number of Shi’ah themed manuscripts of the Qazvin school have been introduced. The results of this study indicate that the stories derived from the Qur'an, events and teachings of Islam and Shi'ism, which explicitly or symbolically represent the truth and legitimacy of Shi'ism, constitute the main frame of these images. In addition, the important concepts and notions of Shi'ism such as the right of succession and Imamate of Prophet Ali (PBUH) chosen by God, the infallibility of the Shiite Imams, the belief in the miracles and wisdoms of the Imams; also the intercession of the Imams and the expression of the dignity and status of the Imams, are represented in these paintings. Artists who have created such works have been able to visualize coded and spiritual beliefs, narratives, and concepts by avoiding a realistic approach and by applying symbols, signs and visual and tangible arts; moreover, Shi’ah paintings are distinguished from religious paintings. They have also portrayed sacred figures and icons of Shi’ah Islam in a symbolic manner with the use of special decorative elements, emphasizing their unique and sacred status and directing the audience to their spiritual and intrinsic perfection.

Visual or concrete poetry is one of the modern poetic trends in both European and Iranian poetries. This form of poetry which is includes written deviations and linguistic foregrounding is manifested in a combination of poetry, graphics and sometimes calligraphic lines. In this poetic tradition, written structures are chosen in a way that the type of layout and combination of letters, words and sentences of poem create visual images. This paper aims to rely on a combination of approaches including comparative literature in the comparison of American and French and formalistic approach, and the concept of comparing the American and French and formalistic approach, to review and evaluate the impact of conjunction between visual poetry and similar species in Iran's poetry. To do so, examples of visual poetry are compared in a formalistic way with the examples of the type in Iranian literature including Toushij poetry (Moshajjar, Motayyar, Modavvar and Moaqqad), visual poetry, Movassal, Tadbij, letter-oriented poetry, illustration, incarnation. The results showed sundry similarities and differences between the principles of visual poetry and examples of the type in the Iranian tradition. Some of these similarities and differences are deviation, foregrounding, homogeneity of graphics, defamiliarization, and alienation. These similarities do not mean “Plagiarism” because there is a close relationship between Iranian and French literature in various aspects. There is no doubt that Guillaume Apollinaire, in the creation of his “Calligrams”, was strongly influenced by the concrete and visual Persian poetry including "Toushih poetry”.

This study aims to identify the specific perception of high-consumption audiences of national brands of dairy products labeled "traditional". Therefore, it analyzes and compares the message of the sender (package designer) and what the recipient (recipient of the goods) has received. To achieve the goal of the research, with the help of a semiotic approach, first by describing the work, visual signs, both visual and written, and determining the importance of each of them, the location and description of the types of symbols used in the work are discussed. After describing the work, by the method of "Martin Jolie" analysis, the messages in the work were examined in three sections: visual, iconic, and linguistic messages; Finally, with the help of "Roland Barthes" method in image analysis, explicit and implicit implications of the content of the work were identified. Analysis of research findings showed that three types of visual, linguistic, and iconic messages are of special importance in each package. In visual messages, the three elements of color, packaging material, texture, and packaging form the most important roles in conveying the "traditional" concept to a dairy product. In examining language messages, the choice of name, font, and written language is very important, and each can have implicit and conceptual implications; Finally, in the messages, explicit and implicit meanings in the images are examined and their importance is determined

Word and image are two important factors to establish the connection. Formation of a signal in the form of letters, for expressing ideas and mental concepts took place distant past. Using text glyphs if the distance of time and space, get a sense was also easier. Writing and calligraphy In addition transferring messages through images and words, are visual structure. So in hieroglyphics only the characters but the message transfer agent Calligraphy artist initiative has been verified and tasteful field writing. The principles and rules of calligraphy in the beauty and attention to visual quality, including features that The line of visual and aesthetic structure has been privileged over other lines. The works surviving from Mir Emad Calligraphy in the Safavid period, showing the peak of the evolution of this line is that after centuries of formation, Attractions and hidden in the works of the best artists of his works of contemporary calligraphy in terms of visual and visual communications verifiable and comparable. So that by comparing the strengths and weaknesses of each of these works can be in terms of aesthetics and visual qualities outlined Selected samples to compare the effects of each period, the index of similar works Miremad the Safavid period and Amirkhni the contemporary period. Such relationships Nstlyq three categories: visual communication, understanding and communication connections are writing. Here are a dedicated communications objective and perceived communication or hidden in two contemporary style and Safavi has been studied. Considering the importance of hieroglyphics as the most beautiful bride Islamic lines and lines of Persian literature, research activity, comprehensive, adequate and functional aesthetic principles have been done in the discussion.
Basically without careful analysis and rational calligraphic works great and can not index any new developments in the field of calligraphy found his way.
So far, few studies have been done on the bases of visual nastaliq
Therefore, none of the visual elements of visual communication objective and hidden relationships and the visual quality of the calligraphy analyzed Nstlyq not taken seriously
In this paper, collecting information through library and documentary descriptive, analytical qualitative comparison of excerpts from the works of Mir Emad and Amirkhni addressed, Objective and comprehensive communications effort is intended to be reviewed in two ways Safavid and contemporary. According to the research are among the examples given.
Questions are being raised in this paper is to both apparent and hidden hieroglyphics need to make contact there, Intuitive knowledge in understanding what role this communication, mainly the similarities and differences in the difference between the samples of Miremad and Amirkhni similar effects are. The result of the research shows is that sensitive artist Safavid period, especially relations of visual communications objective and perceptual visual elements more contemporary artists have been hidden. In addition to recognizing the principles and rules as well as understand the communication writing, Requires a thorough understanding and recognition of objective and perceptual relationship between visual elements and visual quality of the calligraphy is nastaliq Safavid period in the works of the artist fully considered the issue.

Alamut Castle is one of the most important Ismaili castles. In the previous studies, mainly historical sources have been referred but pictorial sources, especially paintings, have not been paid much attention. This paper intends to examine the location of Alamut and show how these images can be used to rebuild the castle. Reconstruction of Alamut Castle, whether in the form of a digital image or in a higher step in practice, requires various supports, one of which is the drawings of historical texts, because it provides an image of the castle before it was destroyed and its grandeur shattered. In an attempt to find this embodiment, this study examines the drawings of three ancient historical texts, namely Jahangisha, Genghisnameh, and Jame al-Tawarikh.

Introduction The term "emoji" is an anglicized adaptation of the Japanese words "e" (meaning "picture") and "moji" (meaning "letter" or "character"). So, the definition of emoji is, simply, a “picture-word” accurately encapsulating its essence.. The primary function of an emoji is to fill in emotional cues otherwise missing from typed conversation. Emoji exist in various genres, including facial expressions, common objects, places, types of weather, and animals. Emojis are standardized pictographs used to emphasize the emotional tone of the message, indicate emotions, open conversations, and convey the mental state of the message sender While emojis are a cornerstone of social network interactions, their influence extends to other domains, such as culture and commerce..Nowadays, emojis are used in commercial ads, consumer goods, cultural productions, computer games, animations, etc. Therefore, they have a much broader application scope besides social networks. The global obsession with these images, their recurrent use in everyday life, and their positive role in communication have turned these symbols into common and familiar tools for everyone. Emojis have also been applied to contemporary art. The incorporation of these images in visual arts might be explained by recent inclinations of contemporary art and the use of clichés in works of art (especially in pop and neo-pop art). Thus, if we take the “emoji lexicon” on social networks as a “cultural-visual” text, then the use of emojis in other areas might be considered a form of (direct or indirect) imitation from this lexicon. This study seeks to investigate the incorporation of emojis in contemporary art and explore the possibility of creating parodies using Linda Hutcheon's framework on parody. Specifically, it aims to address the following questions: How are emojis integrated into contemporary art? How do artists imitate emojis within the realm of visual arts? Can the adaptation of emojis from their cultural context into the realm of art, along with their imitation, give rise to an ironic situation or parody?The objective of the present study is to analyze the application of emojis to contemporary art to create parodies using Linda Hutcheon’s “A Theory of Parody”. The present study was done with the objective of fundamental research using the descriptive-analytic method. Qualitative data analysis was used in conducting the research. Data were collected using library and digital resources. The research population consisted of works of art that used emojis. Eight out of ten works of art were selected as samples. Linda Hutcheon’s “A Theory of Parody” was used to analyze the works of art. Linda Hutcheon is known as one of the most prominent postmodern researchers and theoreticians. The postmodernism of Hutcheon is deeply linked with intertextuality and parody. Parody is considered one of the oldest forms or sub-forms of art which entails intertextuality. Postmodernism pays special attention to parody. Parody is defined as making (conscious) or ironic use of another (often, not necessarily) art pattern. In semiotics, parody is defined as a humorous representation of a literary text or a work of art. In other words, it is the representation of a “modelled reality” that is itself a representation of an “original” reality. In her book “A Theory of Parody: The Teachings of the Twentieth Century Art Forms”, Hutcheon defines parody and its function, its similarity to other (literary and art) genres, coding and decoding, the importance of the codes embedded in the text and their interpretation by the reader. According to Hutcheon, parody is repetition, but repetition with a difference, imitation with critical ironic distance. Parody uses irony as the main tool to signify or even create contrast. Therefore, exploring whether imitation contains an ironic situation or not is an important marker in identifying parody (from Hutcheon’s point of view). Thus, the first element to analyze in a work of art is its ironic edge. As mentioned before, it is the ironic edge of a parody that helps create distance from the original text and imitation alone does not create a difference. Hutcheon also argues that to understand what a parody is. we should consider the entire act of enunciation, production, and context of reception about a text. She uses the word “ethos” to explain this concept. According to Hutcheon, ethos is a feeling conveyed to the decoder by the encoder. The ethos of a parody might range from respectful, neutral, or playful to mocking and ridiculing. Therefore, the degree to which an (artistic) text is parodic might depend on the extension (intensity) of its ironic edge. According to Hutcheon, parody is not just a humorous imitation, but a broad range of ethos. Thus, the intensity of the parody is another element to analyze in a work of art to recognize how each work alters the original cultural text (emojis). The third element to consider in Hutcheon’s theory is the importance of encoding and decoding a parody. Hutcheon refers to the importance of encoding the signs embedded in the text and interpreting them. In encoding a text as a parody, the author (encoder/artist) should consider a group of shared cultural and linguistic codes and the reader’s familiarity with the parodied original text. Just like irony, parody demands embedding a certain group of aesthetic and social (ideological) values in the text to enable comprehension. Thus, to analyze a work of art, one must pay attention to the author’s encoding and the codes they place in the work (in a text with a familiar culture, codes might be embedded in social and cultural discourses and even emojis) and also the reader’s decoding based on their cultural and artistic background and familiarity with the codes embedded in the text. Regarding the objective of the present study and essential elements used in creating a parody from Hutcheon’s point of view, eight visual works of art that applied emojis were analyzed. The results of the study showed that conveying emojis from the cultural context of the “emoji lexicon” into the work of art and altering its sign system and medium could itself create an ironic edge since emojis are used to open conversations and convey the sender’s message tone, feelings, and mental state. Although emojis are humorous and playful, they lack an ironic or critical edge and often refer to what they signify. Therefore, they lose their communicational function by moving to another medium , they can refer to what they signify but they lose their previous function. In the artistic setting, they both legitimize the original cultural text and include critical distancing. In addition to this, each work uses a special method to create an ironic situation. The second point in Hutcheon’s theory is the function, ethos, and intensity of the parody which is directly linked to the ironic edge and ranges from respectful, neutral, and playful ethos to a ridiculing one. The parody created from the analyzed works of art has a double relationship with the original text. This relationship is humorous, amusing, neutral, or playful, but not ridiculing or destructive at all. However, the parody keeps its ironic distance from the original text. Finally, the encoding and decoding of each work of art were analyzed. From Hutcheon’s point of view, the first condition is the reader’s familiarity with the original text. She believes the encoder (artist) embeds a group of aesthetic, cultural, social, and ideological codes in his/her work and the decoder can only understand the parody by identifying them. The three main elements in Hutcheon’s theory apply to these works and the artists have used different methods to create parody. The results showed that the artworks had ironic elements,a prerequisite to parody in Linda Hutcheon’s views, and the resulting parodies have a double-edged relationship . They have an affirmative tone while maintaining an ironic distance. Also, it would seem that due to the diverse encoding methods applied to the artworks, most of them have recognizable pictures and socio-cultural elements that the common people can easily understand which makes the decoding process much easier.