فهرست مطالب

پژوهشنامه گرافیک و نقاشی - پیاپی 5 (پاییز و زمستان 1399)

پژوهشنامه گرافیک و نقاشی
پیاپی 5 (پاییز و زمستان 1399)

  • تاریخ انتشار: 1399/12/01
  • تعداد عناوین: 13
|
  • عفت السادات افضل طوسی*، فاطمه یوسفی صفحات 4-18
    در بررسی عکاسی و تاثیر متقابل آن بر هنر نقاشی، فراز و فرودهایی در روابط میان این دو هنر ازسوی هنرمندان و نظریه پردازان ایجاد شد؛ از آغاز پیدایش عکاسی که برای عکس ارزش هنری قایل نبودند تا زمانی که کم‏کم توانست جای خود را میان سایر هنرها باز کند و در دادگاهی برای عکس حق هنری قایل شدند، راه بسیار طولانی پیموده شد. این در حالی است که نقاشی همواره بر صدر نشسته و هنر فاخر و نمادی از ثروت و فرهنگ و تمدن بوده است. سوال این است که با گذشت زمان و پیشرفت تکنولوژی، عکاسی چه جایگاهی در مقابل نقاشی یافته است و رقابت تاریخی هنرمندان عکاس و نقاش چه مرزهای جدیدی را در دوران معاصر گشوده است. این مقاله با روش توصیفی تحلیلی، به تحلیل جایگاه عکاسی در هنر معاصر، با رویکرد به آراء والتر بنیامین، می پردازد. به نظر می رسد، عکاسی به دلیل ماهیتش در انعطاف پذیری و ایجاد خلاقیت، بازتولیدپذیر شده و به ابزار جدیدی در هنر پسامدرن بدل شده است، به گونه ای که می توان آن را هنری مستقل و با بیانی نو و حتی پایه گذار بسیاری از سبک های هنری دانست.
    کلیدواژگان: هنر معاصر، عکاسی، نقاشی، والتر بنیامین
  • الهه پنجه باشی*، بهناز خامه چیان صفحات 19-37
    بنای اولیه باغ فین به پیش از اسلام و با تمدن سیلک پیوند خورده است، تمدن سیلک نیز پیوندی ناگسستنی با چشمه جوانی دارد که در بالای باغ جاری است و به چشمه سلیمانیه معروف است و از دیرباز همچنان در آبادی منطقه فین موثر بوده است. با گذشت زمان و روی کارآمدن سلسله های گوناگون، عمارت های مختلفی به باغ افزوده شد. در دوره قاجار به ویژه در دوران سلطنت فتحعلی شاه قسمت های مختلفی به این عمارت افزوده و همچنین بازسازی شد؛ ازجمله کوشک فتحعلی شاهی که در ضلع جنوب غربی باغ ساخته شد. هدف از این پژوهش، مطالعه درون مایه دیوارنگاره های باغ فین در شهر کاشان و تحلیل ویژگی های نقوش آن است. این پژوهش با رویکرد تاریخی-محتوایی انجام شده است و به مطالعه موردی درون مایه دیوارنگاره های باغ فین و کوشک فتحعلی شاهی آن می پردازد. سوال اصلی پژوهش این است که درون مایه دیوارنگاره های باغ فین براساس چه موضوعاتی نقاشی شده است. نوع تحقیق در این پژوهش، توصیفی تحلیلی و شیوه گردآوری اطلاعات به صورت کتابخانه ای و میدانی است. نتایج این پژوهش نشان می دهد که دیوارنگاره های کوشک فتحعلی شاهی در دوره قاجار با رعایت قواعد بصری در فرم، دارای درون مایه های موضوعی است که متاثر از نقاشی دوره اول قاجار است و به صورت درون مایه های روایی، داستانی، نمادین و سیاسی نقاشی شده است.
    کلیدواژگان: دوره قاجار، کاشان، باغ فین، دیوارنگاری، کوشک فتحعلی شاهی، درون مایه
  • سارا خندابی* صفحات 38-52
    ژرار ژنت، از پژوهشگرانی است که به مطالعه روابط بین متون ادبی و طبقه بندی آنها پرداخت. او اصطلاح بیش متنیت را درباره رابطه تاثیرگذاری و برگرفتگی میان دو یا چند متن ادبی، به کار برد. روابط بیش متنی منحصر به مباحث ادبی نیست و آثار هنری را نیز در بر می گیرد و می توان آثار هنری را از منظر بیش متنیت بررسی کرد. تابلوی «خسرو و شیرین» رکنی حایری زاده، ازجمله آثاری است که شناسایی و خوانش آن در گرو شناسایی آثار هنری پیشین است. نگاره «آبتنی شیرین» از شاخص ترین نگاره ها در نسخه های مصور خمسه نظامی در دوره های مختلف نگارگری ایرانی است و هنرمند معاصر با بهره گیری و دگرگونی آن، اثر جدیدی را خلق کرده که از پویایی و خلاقیت خاص خود برخوردار است. این نوشتار درصدد پاسخ به این پرسش است که در فرایند این برگرفتگی، چه نوع تغییراتی صورت گرفته است و این تغییرات چه معناهای جدیدی را در اثر معاصر تولید کرده اند. از این رو، تابلو ی «خسرو و شیرین» رکنی حایری زاده و نگاره های مختلف «آبتنی شیرین» در نگارگری ایرانی از منظر بیش متنیت ژرار ژنت مطالعه شد تا گونه های بیش متنی در رابطه میان این آثار مشخص شود. نتایج به دست آمده نشان می دهد که گونه بیش متنی در این برگرفتگی از نوع تراوستیسمان است. گونه تراوستیسمان به تخریب پیش متن می پردازد و از تلاقی دو شاخص کارکرد طنز و رابطه تراگونگی، تغییر سبک پیش متن، حاصل می شود. این پژوهش به لحاظ هدف بنیادی و از جهت روش پژوهشی، توصیفی تحلیلی، تطبیقی است.
    کلیدواژگان: بیش متنیت، ژرار ژنت، آبتنی شیرین، رکنی حائری زاده، تراوستیسمان
  • فهیمه دانشگر*، مونا طاهری صفحات 53-65
    گیرایی و اثربخشی تبلیغات محصولات یا خدمات، روشی نسبتا قدیمی است، ازجمله رسانه های اثرگذار معاصر، بیلبوردهای شهری چاپی هستند که هر روزه چهره کلان شهرها را دگرگون می کنند. یکی از روش های تاثیرگذار که اهمیت ویژه ای دارد، استفاده از ترکیب بندی جذاب، متنوع و متناسب با محتوای مدنظر برای حفظ زیبایی شهری و البته اثربخشی است که درنهایت موجب رضایت شهروندان می شود. سوال های پژوهش این است که گونه ترکیب بندی و فنون بصری به کار رفته در بیلبوردهای شهری تهران در سال های 1394 تا1396 به چه صورت است و آیا در این سه سال روند تغییرپذیری مشاهده می شود. هدف این جستار آن است که بیلبوردها و عرشه های پل منتشرشده در سطح شهر تهران در بازه زمانی ذکر شده، ازمنظر تنوع ترکیب بندی و فنون بصری، تحلیل و بررسی شود تا راه گشایی برای خلق آثاری زیباتر و اثربخش تر در رسانه مدنظر باشد. روش این پژوهش، توصیفی تحلیلی و پیمایشی مقطعی است. نتایج نشان می دهد که آثار جامعه آماری ما به لحاظ ساماندهی ترکیب بندی تجسمی، هرچند عمدتا متعادل و دارای گشتالت[i] نسبتا مناسب بودند، از بهره متوسطی برخوردار بوده و بیشتر در وضعیت ایستای افقی قرار دارند. نیز بهره گیری از فنون بصری برای خلق ترکیب بندی های خاص با هدف تاکید و تقویت بیان های ویژه به جز پراکندگی، استفاده چندانی نشده است. حال آنکه این روند ممکن است موجب کسالت شهروندان و بی تاثیرشدن پیام ها شود.
    کلیدواژگان: تبلیغات شهری تهران، بیلبورد، عرشه پل، ترکیب بندی تجسم، فنون بصری
  • سحر ذکاوت*، عبدالرضا چارئی صفحات 66-76
    هنر نگارگری هم بازنمای غنای هنر ایرانی است و هم اهمیتی تاریخی در بازجست مسایل فرهنگی و اجتماعی سرزمین ایران دارد. شاهنامه بایسنقری از نسخه های مهم و زیباست که موضوع پادشاهی جمشید، یکی از 22 نگاره این نسخه است. از آنجا که جمشید شاه از نخستین پادشاهانی است که در گسترش فرهنگ و تمدن ایران نقش مهمی داشته است و روایاتی از حکومت و عملکرد او در متن شاهنامه فردوسی آمده و صحنه هایی از حکومت او در نسخه شاهنامه بایسنقری نیز به تصویر درآمده است؛ بنابراین لازم است تا شناخت انواع صناعات در نگاره پادشاهی جمشید در شاهنامه بایسنقری و شناسایی چگونگی بازنمایی این مشاغل به عنوان هدف پژوهش بررسی شود. در این راستا سوالات زیر مطرح می شود: 1. چه مشاغل و صناعاتی در نگاره پادشاهی جمشید در شاهنامه بایسنقری تصویرسازی شده است؛ 2. مشاغل و صناعات مختلف در نگاره پادشاهی جمشید در شاهنامه بایسنقری با چه ویژگی هایی و چگونه به تصویر درآمده اند؟ پژوهش پیش رو به شیوه توصیفی تحلیلی انجام شده و داده های آن با جست وجو در منابع کتابخانه ای جمع آوری شده است و نتایج نشان می دهد که براساس متن شاهنامه ساخت ابزارآلات جنگی، نرم کردن آهن، پارچه بافی و خیاطی در نگاره بازتاب یافته است.
    کلیدواژگان: پادشاهی جمشید، شاهنامه بایسنقری، مشاغل، صناعات، نگارگری
  • سمیرا ربیعزاده*، ناهید جعفری دهکردی صفحات 77-90
    یکی از روش هایی که برای درک و تحلیل متن، به کار برده می شود، استفاده از اصول نشانه شناسی است. نشانه شناسی تصویری توانایی تجسم و شکل پذیری را دارد و در مجموعه ای از جمله تضاد، تناسب، تعادل، زاویه دید و... می توان جایگاه نشانه ها را در یک متن تصویری بررسی کرد. از داستان های مهم در شاهنامه طهماسبی، رزم رستم با سهراب است که در نسخ متعددی مصورسازی شده است. هدف از انجام این پژوهش بررسی نشانه های دیداری به کاربرده شده در سه نگاره از رزم رستم با سهراب است. نگارندگان تلاش دارند با روش توصیفی تحلیلی حاصل از مطالعات کتابخانه ای، همچنین مفاهیم و روابط ساختاری نهفته را که مدنظر هنرمند بوده، بررسی کنند و به پرسش هایی زیر پاسخ دهند:نگارگران نسخه مصور شاهنامه طهماسبی برای انتقال معنای درونی متن در تصویر، چه شیوه ای از نشانه شناسی تصویری را در ترکیب بندی نگاره ها به کار برده اند؟نگارگران نسخه مصور شاهنامه طهماسبی چگونه از نظام نشانه شناسی دیداری برای انتقال مفاهیم در نگاره بهره گرفته اند تا مخاطب مفهوم را از آن نشانه های معنادار دریافت کند؟یافته های پژوهش نشان می دهد که نگارگر نشانه های کلامی را به صورت نشانه های تصویری به مخاطب منتقل می کند و حتی با توجه به نشانه های درونی متن، لایه های معنادار در متن تصویر، موجبات تکثیر معانی را فراهم کرده است.
    کلیدواژگان: نشانه شناسی، شاهنامه طهماسبی، نگارگری، نشانه شناسی تصویری، نبرد رستم و سهراب
  • رضا رفیعی راد*، مهدی محمد زاده صفحات 91-107
    ورود مبانی هنر مدرن، از زمان صفوی و قاجار به ایران و از زمان زمامداری شاه امان الله به بعد در افغانستان، تغییرات بنیادینی را در هنر، به ویژه نقاشی، به وجود آورد و سنت های تصویری نگارگری را به حاشیه راند. از طرف دیگر، افزایش حضور زنان به عنوان هنرمند، به نحوی بی سابقه، سبب شکل گیری گروه پرشمار، جدید و موثر در تاریخ هنر این دو کشور شد. نحوه تعاملات زنان نقاش معاصر این دو کشور به عنوان قشر تاثیرگذار در حوزه هنرهای تجسمی که مانند مردان، از یک طرف با سنت تصویری نگارگری و از طرف دیگر با واردات مبانی هنرهای تجسمی مدرن و تاثیرات آن مواجه بوده اند، مسئله پژوهش حاضر است. حال سوال این است که آثار بانوان نقاش معاصر ایران و افغانستان، چه شیوه هایی را در جهت کاربست سنت های تصویری و ترسیمی نگارگری در نقاشی معاصر ارایه کرده اند و این شیوه ها، چه شباهت ها و تفاوت هایی با یکدیگر دارند. در این راستا یافته های پژوهش حاضر که با روش توصیفی تحلیلی و تطبیقی انجام شده، ضمن معرفی زنان نقاش این دو کشور که سنت تصویری و ترسیمی نگارگری را به کار گرفته اند، شباهت ها و تفاوت هایی را نیز در این شیوه ها و تکنیک ها در آثارشان متمایز می کند که شیوه های مشترک آنها را می توان در قالب تحلیل سطوح، به کارگیری ابژه های معاصر، کاربست تلفیقی نقوش گیاهی و جانوری، تبعیت از تحولات نگارگری معاصر، کاربست مبانی هنرهای تجسمی غربی در نگارگری و تغییر و تحول در مصالح و مفاهیم، با تفاوت های جزیی یا کلی مشاهده کرد. در ذیل هر کدام از این شیوه های مشترک می توان ابداعات و نوآوری هایی را مشاهده کرد که به طوراخص، به کشور ایران یا افغانستان، اختصاص دارد.
    کلیدواژگان: نقاشی معاصر ایران، نقاشی معاصر افغانستان، سنت های نگارگری، نقاشان زن ایران و افغان
  • زهرا رهبرنیا، سهیلا نمازعلیزاده* صفحات 108-116
    در دنیای معاصر، ارزش هنر ازطریق چگونگی فرایند شکل گیری و میزان تاثیرگذاری آن بر جامعه سنجیده می شود و هنرمندان به منظور ایجاد تحولات و نواندیشی های مطلوب در اجتماع، در پی یافتن راه حل هایی مناسب با همیاری مردم هستند. به عبارتی، تیم هنری متشکل از هنرمندان و تماشاگران، حرکتی پویا آغاز کرده اند تا در بهبودی بحران های اجتماعی سهیم شوند. ازآنجاکه چیره شدن بر چالش های مکان زیستی از جمله مسایل مهمی است که امروزه توجه بسیاری از اقشار مختلف جامعه را به خود معطوف داشته است در این راستا، هنرمندان نیز به مقابله با آن برخاسته و تلاش دارند با برپایی فعالیت های خلاقانه هنری و مشارکتی، دگرگونی های سودمند و پایدار بیافرینند. جستار حاضر، مطالعه ای تطبیقی است و پیامدهای گفت وگومندی و حضور صداهای متنوع و متکثر مخاطبان هنر مشارکتی را بر مکان زیستی می جوید. گفت وگومندی و چندصدایی در کانون اندیشه میخاییل باختین (1975-1895)، نظریه پرداز روسی جای دارد. به عقیده باختین، انسجام فرهنگی ازطریق سخن گفتن شکل می گیرد، فرایندی که در آن، باور، هویت و روابط افراد همسو می شود. ازاین رو، مقاله پیش رو، درصدد پاسخگویی به این پرسش است که چگونه در یک فعالیت هنری مشارکتی، گفت وگو و حضور صداهای متنوع مخاطبان، موجب بهبودی چالش های مکان زیستی می شود. روش این تحقیق، توصیفی تحلیلی بوده و ابزار گردآوری اطلاعات، منابع کتابخانه ای و اینترنتی است. نتایج این پژوهش نشان می دهد، هنر مشارکتی با ارایه فرصت های برابر به مشارکت کنندگان، به مثابه همنوازی هنرمندانه، فضایی مشارکتی و گفتمانی می آفریند تا افراد با تغییر در نگرش و دریافتی نو از مکان زیستی ، به رفع چالش های آن رهنمون شوند.
    کلیدواژگان: هنر مشارکتی، باختین، گفت وگو، چند صدایی
  • فرزان سجودی*، شلیر عطایی صفحات 117-127
    گفتمان تجدد در ایران حاصل مفصل بندی دال هایی چون عدالت، آزادی، اصلاحات، حول دال مرکزی قانون بود. به نحوی که دال قانون، در تعارض با دال مرکزی گفتمان دربار (پادشاه) قرار داشته و تک گویی حاکم بر گفتمان دربار را نشانه گرفته بود. هدف این مقاله نشان دادن تاثیر گفتمان تجدد بر بازنمایی چهره پادشاهان قاجار بر اساس نظریه گفتمان در آرا لاکلا و موفه است. سوال این است که تغییرات گفتمانی حاکم بر فضای اجتماع درگذار از عهد فتحعلی شاه به عهد ناصرالدین شاه، چه تاثیری در بازنمایی چهره پادشاه و سایر افراد درگیر در مناسبات قدرت دارد. یافته های پژوهش، نشان می‏دهد که گفتمان تجدد با مرکزیت قانون قبل از هر چیز تفاسیر فرازمینی و تقدس نمایی را از چهره پادشاهان این دوره زدوده است و دسترسی به شاه در تصاویر آسان تر شد. بدین ترتیب پیکر شاه در تصاویر واقعی و ملموس شد و تصاویر کارکرد خود را که تبلیغ و تثبیت قدرت بود رفته رفته از دست داد. به این ترتیب فردیت از راس هرم قدرت به سطوح پایین‏تر انتقال یافت. با هژمونیک شدن دال قانون شاهد تغییرات بیشتری در بازنمایی هستیم. در واقع ژست‏های معرف قدرت به حاشیه رانده می‏شود و تصویر شاه از مرکزیت خارج می‏شود.
    کلیدواژگان: تحلیل گفتمان، لاکلا و موفه، تجدد، چهره‏نگاری، قاجار
  • چنور سیدی*، فاطمه سیدی صفحات 128-140
    جوزف کمبل با توجه به رویکرد کهن الگوی «قهرمان» کارل یونگ، «الگوی سفر قهرمان» را مطرح کرد. وی با مطالعه ساختار اسطوره ای در تمدن و فرهنگ های گوناگون، بر این باور بود، در ساختار اسطوره برای سفر قهرمان، سه مرحله عزیمت، تشرف و بازگشت وجود دارد که می توان آ نها را در نگاره جام زرین حسنلو جست. هدف از جستار حاضر این است تا با بهره گیری از نظریه جوزف کمبل اسطوره شناس شهیر آمریکایی، نگاره جام زرین حسنلو را مطالعه و بررسی کند و در پی پاسخگویی به این پرسش هاست: نگاره جام زرین حسنلو، با «الگوی سفر قهرمان» جوزف کمبل هم پوشانی دارد؟ در صورت حضور این کهن الگو، چگونه می توان آنها را براساس نظریه کهن الگوی سفر قهرمان جورف کمبل تحلیل کرد؟ جستار حاضر، با بررسی و مطالعات کتابخانه ایی به صورت توصیفی تحلیلی انجام شده است. برای پاسخ به پرسش های مذکور با بررسی نگاره جام زرین حسنلو که متعلق به عصر آهن است، می توان به این نتیجه رسید که براساس الگوی کمبل، نگاره جام زرین حسنلو، بیانگر آن است که قهرمان روایت هنری با استمداد نیروهای ماوراءالطبیعه از جهان دنیوی خارج می شود و به معنویت و جاودانگی دست می یابد و هنگام سفر در مرحله عزیمت با یاری دهندگان معنوی ازجمله خدایان روبه رو می شود، سپس در مرحله تشرف، گام در جاده آزمون ها گذاشته و با شیر، مار، دیو و خدابانو روبه رو می شود و به نبرد با نیروهای متخاصم می پردازد. قهرمان داستان درنهایت با شخصیتی دگرگونه، در قالب حمایت از جامعه، دوباره به سرزمین خود بازمی گردد.
    کلیدواژگان: نگاره جام زرین حسنلو، سفر قهرمان، عزیمت، تشرف، بازگشت، جوزف کمبل
  • علیرضا شیخی*، اکرم پیله چیان، فاطمه زحمت کش صفحات 141-163
    حمام در فرهنگ ایرانی کارکردهای فرهنگی و اجتماعی جالب توجهی دارد. همواره محلی برای اجرای آیین و سنن بسیار، نشر اخبار، نقل داستان های ملی و اساطیری و روایت‎ های عامیانه بوده است. این مفاهیم و رسوم در قالب نقاشی بر دیواره های برخی از حمام های تاریخی هنوز روایتگر این داستان ها هستند که بخشی از تاریخ هویت قومی این سرزمین است. حمام های گنجعلی خان کرمان و مهدی قلی بیگ مشهد مربوط به دوره صفوی ، با نقاشی های دیواری قاجاری، شایسته تامل و قیاس هستند. هدف پژوهش حاضر، مطالعه بصری و موضوعی نقاشی های دیواری در سردر و سربینه دو حمام گنجعلی خان و مهدی قلی بیگ است و به دنبال تحلیل و تطبیق دیوارنگاره ها از نظر موضوعی و عناصر بصری آن است. جمع آوری داده ها، کتابخانه ای و به ویژه بر عکاسی میدانی استوار شده است. یافته ها نشان از آن دارد که در دیوارنگاره های دو حمام مذکور، نقاش، صحنه های اسطوره ای و خیالی، داستان های ادبی و عاشقانه، رویدادهای واقعی زندگی مردم کوچه بازار، پهلوانان، موجودات خیر و شر را به صورت نمادین نقش زده است و آیین حاکم بر فرهنگ عامه را به صورت شفاهی برای مردمان نقل کرده است. نقاشی های سردر حمام کرمان به دلیل وحشت ایجادشده در دوره قاجار، بیشتر نمادین بوده، اگرچه نقاش با زیرکی آیین پهلوانی در بین مردم و اعتراض آنها را به تصویر کشیده است. در سربینه حمام مشهد اندکی صریح تر موضوعات به تصویر کشیده شده که کتیبه های مذهبی، ورود به جهان تکنولوژی و بازنمایی محلات شهری، تردید در پذیرش پوشش غربی در این زمره اند. می توان گفت اوضاع اجتماعی در حمام مشهد با صحنه های بیشتری تصویرگری شده است.
    کلیدواژگان: حمام گنجعلی خان کرمان و مهدی قلی بیگ مشهد، نقاشی دیواری، عناصر بصری و موضوعی
  • آمنه مافی تبار* صفحات 164-181
    شاهنامه، منظومه ای حماسی است که بیش از هر اثر ادبی فارسی، به استنساخ و تصویر درآمده است. شاهنامه های داوری و عمادالکتاب، دو نمونه از آخرین نسخ دستنویس عصر قاجار هستند که به ترتیب مقارن با فرمانروایی چهارمین و پنجمین حکمرانان این سلسله، یعنی در عهد ناصری و مظفری شکل گرفته و بدون شک هر دو به تبعیت از متن ادبی، به تصویرنگاری داستان های رزمی شاهنامه پرداخته اند. هدف این مقاله، مطالعه درباره چگونگی بازنمایی مفهوم جدال و پیکار در دو شاهنامه داوری و عمادالکتاب است که با مطالعه تحلیلی تطبیقی، نیز نمونه گیری احتمالی طبقه بندی شش صحنه رزم از این دو مجموعه دنبال می شود. بر این اساس پرسش آن است: در مجالس رزمی مصور در دو شاهنامه قاجاری داوری و عمادالکتاب، بازشناسی مضمونی و تشخیص شخصیت های محوری، چگونه و با نظر به چه مولفه هایی امکان پذیر می گردد؟ نتیجه بررسی ها نشان می دهد به رغم تفاوت های صوری درخور توجه در تصویرنگاری هر دو اثر، نمایش صحنه های رزم با اسلوب تقریبا ثابتی دنبال شده است تاآنجاکه یگانگی عناصر ترکیب تصویری همچون شکل، رنگ و اندازه در سپاه خودی و دشمن مانع تمایز ایشان از یکدیگر می شود و حتی بازشناسی شخصیت های محوری داستان یعنی سرکردگان سپاه نیز دشوار به نظر می رسد. با این حساب می توان ادعا کرد در این صحنه ها، نمایش مضمون و محتوای رزم در مقایسه با شخصی سازی داستان اولویت دارد و تمیز دقیق احتمالی موضوع یا شناسایی شخصیت ها نه فقط با رجوع به نگاره که با تسلط بر متن ادبی امکان پذیر خواهد بود.
    کلیدواژگان: قاجار، نگارگری، شاهنامه داوری، شاهنامه عمادالکتاب، نگاره های رزمی
  • ابوذر ناصحی* صفحات 182-198
    مقاله پیش رو بخشی از رسالت خود را در معرفی شاخه ای از تصویرسازی می بیند که امروزه باعنوان تصویرسازی علمی مطرح است، چراکه هم زیستی و همراهی علم و هنر از دیرباز جزیی از شاخصه های پیشرفت هر تمدنی بوده و هست. عصر صفوی به عنوان یکی از پیشاهنگان تمدن ایرانی اسلامی بی شک قدم های ارزنده ای در حوزه تصویرسازی علمی برداشته است. این پژوهش به تطبیق نسخه ای از الحشایش قرن ششم، محفوظ در کتابخانه آستان قدس رضوی و سه نسخه الحشایش عهد صفوی، محفوظ در کتابخانه مجلس شورای اسلامی، موزه کاخ گلستان، موزه سن پترزبورگ، می پردازد. مقاله در پی یافتن ارتباط صوری نسخه های متعدد الحشایش عهد صفوی و نحوه تداوم سنت های تصویری این نسخه ها با منبع استنساخ در قرون پیشین است تا از آن طریق سیر تحول در شیوه تصویرسازی علمی در تمدن ایرانی اسلامی را به دقت بررسی کند. روش تحقیق در این مقاله توصیفی تطبیقی است و گردآوری اطلاعات آن با بهره گیری از منابع کتابخانه ای و پایگاه مجازی موزه ها و کتابخانه ها صورت گرفته است. یافته های حاصل از پژوهش به شباهت های کتابت و تصویرسازی نسخه های متعدد عهد صفوی و نسخه ماقبل، در قرن ششم پرداخته است. تصویرسازان نسخه های عهد صفوی ضمن تعهد به متن علمی و تصویرسازی های نسخه آستان قدس در بسیاری موارد ناآشنا از خلاقیت و برداشت خود از متن کمک گرفته یا تصاویر نسخه آستان قدس را عینا استنساخ کرده اند و در موارد آشنا، مهارت خود را در بازآفرینی محیط اطراف به رخ کشیده و تغییراتی اندک را ایجاد کرده است.
    کلیدواژگان: الحشایش آستان قدس (قرن 6)، دیوسکوریدس، تصویرسازی علمی، عهد صفوی
|
  • Effatolsadat Afzaltousi *, Fatemeh Yousefi Pages 4-18
    Certain vicissitudes are generated in the relations between photography and painting by the artists and theoreticians in their investigations about photography and its interplay with the art of painting. Early during the advent of photography, no artistic value was attached to the photographs insofar as it managed to find a home among the rest of the arts, and a long way was taken to attach an artistic value to the photographs in the courts of justice. Nonetheless, painting always predominated as fine art and a symbol of wealth, culture, and civilization. Primarily, a periodical journal printed Gustave Le Gray’s photographs entitling them as artistic pictures. Photography gradually adopted an artistic language and expression, such that today it holds a critical role in modern arts, especially land art and installations.This paper mainly seeks to investigate the course of development in the position of photography and its rivalry with painting and even its access to progressive art with a new language and expression. The main question about the position of photography versus painting is on its invention until the modern era and post-modern art. We attempt to examine what new frontiers the historical race between photography and painting artists are introduced in contemporary art. The present paper attempts to examine the position of photography in the art, and evaluate its status in reciprocity or competition versus painting by making references to the works of the artists up until the contemporary era, with an approach towards the views of the twentieth-century theoretician – Walter Benjamin (1892-1940) – about the reproducibility of artworks. Apparently, due to its flexible character and since it creates innovation, photography is turned reproducible and into a new instrument in postmodern art, such that it could be regarded as a separate art with a novel expression and as the establisher of many art styles.Since its advent, triggered by Louis-Jacques-Mandé Daguerre (1787-1851) in 1839, photography entered a special rivalry with painting, which has been marked by many of the philosophy theoreticians, since this visual medium or art is way too occult and constantly separating itself from the rest of the arts and outreaching them as the most important medium of expressing artistic concerns. Some artists regard photography as being specific to a certain group. However, since the advent of photography in the nineteenth century, it turned more popular and accessible than painting, meaning that many walks of people could make a self-portrait in the photo studios. Yet, painting art was still in use and accessible by the better-to-do class of society. On the other hand, many painting artists including Charles Negre (1820-1880) and Edgar Degas (1834-1917) used photographs in their paintings. This made photographers such as Edward Steichen (1879-1973) and advocates of pictorialism liken their photographs to the romantic and sometimes imaginary atmosphere of paintings to produce an identity for their works and getting them closer to the world of art.Lewis Frederick Meyer (1822-1913) and Pierre-Louis Pierson (1822-1913) were two photographers who left a significant impact on the process of turning photography into art since they accused some photographers of stealing their photographs. In that period, copyright laws were enforceable only to works of art. Therefore, it had to be proven in the court of law that photography is an art. At last, the French court ratified that photography is entitled to the same rights attributed to a work of art like painting. Pierson and Meyer published the book “Photography” to consolidate the position of photography among the rest of the arts. According to them, photography stopped groundless and uncreative painters working.Therefore, the present paper reviews the history of photography and the advent of various photography schools inspired by the painting schools and vice versa, examining the course of evolution and interplay of these two arts. From among the various views of the painting or photography artists and the relevant theoreticians, Walter Benjamin speaks seriously and severally about the newly emerging arts of his time – photography and cinema – in an essay titled “The Work of Art in the Age of Mechanical Reproduction”. In this essay, he investigates the power of reproduction in the modern age and enumerates its impacts on the arts and the popular masses. More than any other art, the power of photography and reproducibility of photographic images, attracts attention in this context. In Benjamin’s opinion, works of art have always been reproducible. “Everyone can copy works of others”. In his opinion, photography has altered the substance of art.In part seven of his essay, he explicitly emphasizes the historical disputes as to the reciprocity or competition between painting and photography, dubbing it as “devious and confused”. He believes that this dispute is a historical transformation the universal impact of which was not realized by either of the rivals (Benjamin, 1998: 216). Today, the impact of photography on the contemporary arts – some of which we have laid down in this paper – is evident to all, and it has further increased despite the technological changes.Since late in the 1970s, the work of the postmodern photographer - Cindy Sherman – called “Untitled Film Stills” (1954), and Andy Warhol’s “The Death and Disaster” painting silk-screens from 1963 to 1964 made the critiques and artists pay attention to photography as a media element in the contemporary life. In the 1970s, photography was used as a medium in many contemporary art styles, especially in the works of land art and its various principles. On the other hand, photographers also independently tried to get attuned to the postmodern artistic values - especially in the topic of the environment – by the realization or documentation of their surroundings. Modern topography images are included in the category. The impression and impressionability between photography and painting in their various styles are manifested in the works of photographers and painters, insofar as photography leaves effect in creating an artistic style like photorealism as an independent and powerful medium according to Edward Lucie-Smith as he has conceived in his book “The Globalization and the Modern Art”.In response to the study of these two arts’ position, and considering the views of Benjamin and the artistic styles emerged especially in the postmodern era, it seems that we would arrive at the answer that photography may hold a significant role in the postmodernist art by its capability of dynamism and universalism. Walter Benjamin’s views explain the importance of photography during the age of mechanical reproduction or duplication among the popular masses and its increasing role in rivaling painting in contemporary art, pointing out the extinction of originality in the art. Photography is an art that impacts other arts every day, especially in the postmodern era, and is an inseparable part of postmodern art, since splendid artworks may be created even out of the cheapest photographs, referring to the works of painters like Gerhard Richter (1932). As Walter Benjamin maintains, photography universalized the art and brought artists a novel attitude based on which one may say the art has rerouted from the concepts of originality and specialty and belonging to a certain class of the society to the direction of popularity and accommodation to the popular masses. It seems by analyzing his views that Walter Benjamin does not look at photography as something void of art, but he regards its universality as a forerunner for its artistic application. More specifically, he points to the works of Eugène Atget (1857-1927) – the nineteenth-century French photographer – who has reduced the last of the cult values of the photographs - the human portrait - and has increased its exhibitory value by taking photographs of deserted urban spaces with no human portraits and figures (Benjamin, 1998: 215). Indeed, it seems that Benjamin thinks more about the importance of the invention of photography and its impact on art and its impression on the value of art in the eyes of the popular masses. Today, the impact of photography on the contemporary arts is publicly evident and has increased more than ever despite technological changes. In Benjamin’s view, the art has lost its sanctity due to the technological advancement of photography alongside the loss of the sacred undertone of the photographs, gradually becoming accessible by the popular masses. In other words, photography has been effective in the loss of the personification undertone as an instrument of the mechanical age of artistic reproduction.Aside from Benjamin’s views, one may depict that photography worked like a catalyst in its age and managed to bring about abundant changes in the attitudes of the painters and painting art styles. It managed to dissolve and attach the antagonists to itself. Precision in details and shooting the seconds or “capturing the moments” with the help of light is a possibility painting has never been able to take benefit of in picturing the imagination, but using photography. The sanctity of the moment in daily life is undoubtedly precious, and shooting it and eternizing “a moment” that no more exists is way too valuable, and this amazing thing is difficult to be done without the medium of photography.
    Keywords: contemporary art, Photography, Painting, Walter Benjamin
  • Elaheh Panjehbashi *, Behnaz Khamechian Pages 19-37
    The art of the Qajar period is one of the most important periods in the history of Iranian art, which can be considered a period of innovation in the art and architecture of this land. Mural of the Qajar period, due to the taste of architects and art-loving commissioners, is considered one of the most valuable developments and changes in this period.Murals are the intermediary media for expressing art and transmitting the original and ancient features of this land that became popular in this period. During the Qajar period, the process of fresco painting in buildings continued in the continuation of traditions. During the reign of three of the first Qajar kings, between 1848 and 1785, a very dynamic process of covering and painting the walls of palaces, mansions, and private residences with scenes of battle, romantic epics, the royal family and women were on the agenda. In this period, the architecture and decorations of the building have been used as a tool to display the culture, customs and finally to record the authority and royal glory throughout history. One of these magnificent buildings is Finn Garden, which is located in Kashan. The original structure of the Finn Garden is related to pre-Islamic and Silk civilizations. The Silk civilization is also inextricably linked to a young spring that flows above the garden and is known as the Sulaimaniyah spring and has long been influential in the development of the Fin region. From 1135 AH, after the Afghan invasion, Abadani Bagh stagnated, but by the order of Karim Khan Zand, especially the mansion named "Khalut Karimkhani" located on the south side of the garden, Bagh-e Fin turned to Abadani, but with the famous earthquake of 1192 AH Finn also saw the overall damage. Fath Ali Shahi pavilion was decorated with various paintings and murals by the order of the Shah. This building, which is located in the south of the garden, has two backyards in the east and west, the floor of which is made of marble, and all around it is decorated with inscriptions in Nasta'liq script. The largest volume of murals is in the Qajar pavilion, which belongs to the period of Fath Ali Shah. To convey various ideas and themes, the mural artist has chosen various methods in the structure, composition, and type of performance, which are principles that derive from the painting patterns of the first Qajar period and the emotional reactions of the artist. Achieving the desired meaning and showing the common narratives and themes in this period depends a lot on the type of performance, how to use colors and composition, and the artist who has been trying to activate the empty spaces of the murals has struggled with these cases. In the sample of paintings that contain most of the political, fictional, decorative, and archetypal themes of Iran, the use of azure monochrome is one of the key and most repetitive colors that have been used and the artist in a watercolor method and often without volume. And has implemented it as a linear intercept. In this section, these images are studied separately.The purpose of this study is to study the murals of Finn Garden in Kashan and to analyze the characteristics of its designs. This research has a historical approach and a case study has been done on the theme of the murals of Bagh-e Fin and its Fath Ali Shahi pavilion. The main question of the research is what subjects were painted on the frescoes in the Finn Garden during the Qajar period? What are the themes of these topics and how are they categorized? What is its relation to the painting of the first Qajar period and what is the classification of the subjects? The type of research in this research is descriptive-analytical and the method of collecting information is library and field. The main purpose of this study is to identify the content and themes of murals and sub-objectives including how the image element is necessary for the buildings of this period and its relationship with Qajar painting, especially court iconography. The results of this study show that the murals of Fath Ali Shahi pavilion in the Qajar period have content values ​​by observing the visual rules in the form and have been used to decorate the building in accordance with the social status of the client. Children are hunting and so on. The theme of the works is influenced by the painting of the first Qajar period (the reign of Fath Ali Shah). These murals are divided into four categories: political, narrative and fictional, symbolic, decorative, and motifs, which include a total of eight main murals on the roof of the building and other decorative paintings on the columns and margins of Yazdibandi arches. The propaganda purposes of these murals can be analyzed from two perspectives; First, the theme of these murals is theatrical, and second, it is a sign of the unity and solidarity of the Qajar government. The line of greetings, which is one of the most widely used themes in the murals of this building, is a clear picture of the pyramid of power in the society of that time; Hence, the themes of these murals, with their emphasis on realism, show the power of the monarchy, and these themes are closely similar to the paintings of the first Qajar period. The themes of hunting, the line of Salam Shahi, and the motifs related to the court of Fath Ali Shah have been depicted to surround the power and influence of the Qajar people. In this research, first, the murals and the history of painting in the Qajar period are studied and after describing the date of construction of the building and how it is done, the murals of Fath Ali Shahi pavilion are examined based on the classification of subjects and its comparative study with court iconography paintings. The murals of this building, in their themes, have been influenced by the court iconography of the first Qajar period, and the common pictorial patterns in the paintings of the first Qajar period have been observed in these murals. The use of themes of the Shah, princes, hunting scenes, and emphasis on Fath Ali Shah as the main subjects of Qajar painting has been centered on the Shah and the legitimacy of the monarchy. The murals of this building are reminiscent of the paintings of the royal line, which shows the king in the middle of the picture and sitting on the throne. One of the most frequent combinations of this period is symmetrical composition. The presence of symmetry is also used in these paintings, and the repetitive role is the role of the king, which is drawn in the middle of the frame in the political murals of the building. The composition of the maqam is also used, and the artist arranges the main subject (king) in the middle, in a larger form, and the less important subjects around each other symmetrically or scattered side by side. The compositional features, the type of execution, the subjects used, and the type of arrangement of the court statues are some of the things that contrast this mural with the paintings of the royal line. Around the flowers and plants, fruit containers, wine glasses, and hookahs are placed in a painting style, which has been one of the common pictorial arrays in the paintings of the first Qajar period. As a result of the present study, it is clear that the visual signs in this building and the painting of the first Qajar period had common visual discourses, and this commonality can be seen in the process of forming the meaning of the works and how it is performed. In these Artworks, the concepts of the same sign have been used to convey different messages and narrations from the court of Fath Ali Shah to the audience. The use of color symbols, composition elements, objects, and images of statues are common features of these murals with the first Qajar period painting. In these paintings, the symbols used are directly related to the court of Qajar kings and princes. Conformity of format and content, proportionate structure, symmetrical and harmonious combination, decorative and glorious executive style, and bright colors with various decorative arrays, are the hallmarks of Finn Garden wall painting, which combines the visual possibilities of architecture and painting to further influence the audience. It is a magnificent court art and a summary of the art of its community. At the end of this article, it is concluded that the paintings of this building are depicted to show the political situation of the Qajar court, desires, entertainment, show the ideal beauty of princes, how to cover and changes in society and understanding of Iranian chromatography, decoration, limited shadows. , I notice the influence of the methods of using little perspective in landscapes and buildings and little in the used figures.
    Keywords: Qajar, Kashan, Finn, mural, Fath Ali Shahi pavilion, Painting
  • Sara Khandabi * Pages 38-52
    Gérard Genette is one of the researchers who has examined the relationships between literary texts and classified them. He uses the term hypertextuality concerning interaction and adaptation between two or more literary texts. Hypertextual relations are not confined to literary texts and also include works of art, and artworks can be observed from the perspective of hypertextuality. Rokni Haerizadeh's painting “Khosrow and Shirin” is one of the works in which interpretation and classification depend on the recognition of preceding works of art. “Shirin Bathing” is one of the most prominent paintings in the illustrated manuscripts from Khamsa of Nizami in different historical phases of Persian painting. By adopting and modifying it, the contemporary artist has created a new work of art that owns its unique dynamism and innovation. The painting  Shirin Bathing is one of the paintings that has been depicted many times in the history of Iranian painting. It seems that the painters in the illustration of these works were influenced by the written text of  Khosrow and Shirin poems as well as the illustrated copies before them. In such cases, the term hypertextuality can be used, which is based on excerpts and was coined by Gerard Genette. hypertextuality deals with the relationships between those literary texts in which the existence of the second text depends on the first text. Here the studied texts are visual. This article seeks to answer this question that how to analyze Rokni Haerizadeh’s painting "Khosrow and Shirin" based on Genette's theories about hypertextuality and what kind of hypertext does it represent (according to Genet)? Here, Shirin Bathing's paintings are considered as a hypertext to this work. This study investigates different kinds of modifications that have taken place in the process of this adaptation and new meanings which have been created in contemporary artwork. Therefore, it has scrutinized Rokni Haerizadeh's painting Khosrow and Shirin and variants of Shirin Bathing (as subject matter) in Persian painting from the perspective of Gérard Genette's hypertextuality to determine the relations between these works. Gerard Genette is one of the most prominent scholars and critics of literature and art in the second half of the twentieth century. He is one of those who have proposed new and appropriate designs for the typology of works, especially recent literary and artistic works, and one of the new theories in the field of typology has been proposed by him. “Palimpsests: Literature in the Second Degree” is a book written by Gérard Genette in 1982 on the concept of hypertextuality. Linguistic typology of hypertextuality deals with the excerption-originated texts. According to Genette, this phenomenon implies any occasion that unites the second text (more than one text) with the first text (hypertext). The hypertextual relation is an ontological relation. That is, if it is not the first text, the second text will not be formed. Genette argues that the meaning of hyper-textual works depends on the reader's knowledge of the hypertext that the hyper-text alters or imitates for adaptation. The textuality of the subject (literary, artistic text, etc.), having two or more texts, having a definite relation between the text (the first text that is considered as a source of inspiration and excerpt) and more text (text that Adapted from the text) is required for the study of hypertextuality and the typology of hypertextuality. Genette attempts to discover impressive and influential relations. Upon a short literature review on linguistic typology and factors to classify literary tips, he goes with indices for the linguistic typology of hypertextuality. Functionality is one of them, which Genette classifies it into two satirical and non-satirical categories (fanciful, satirical, and non-satirical). He then describes the central concept of intertextuality (to being connected to other texts) and classifies it in hypertextuality into two imitations (stylistic emulation) and transformation (stylistic alteration). According to these two categories, he introduces six hypertextual groups, including pastiche, charge, forgery, parody, travesty (travestissement), and transposition. pastiche is a species that is created by the intersection of two indicators of imitation and recreation and is a style imitation that has a recreational function. a charge is a type that is created by the intersection of two indicators of imitation and humor. And it is a style imitation that has a humorous function. forgery is a serious imitation of the text (non-humorous and serious function). Parody, on the one hand, expresses the light transformation of the text concerning the text, and on the other hand, has a fun function. In a parody, the goal is to joke and create new and often entertaining lyrics. But transposition seriously changes the style and reproduces the text. Intra-art adaptations are often like this. Finally, travesty arises from the intersection of two indices of transformation and humor. Genette's hypertextuality approach to literary texts mainly deals with the text's structure, we further consider visual and structural features of the text when studying texts like paintings as a sketch.By examining these drawings, we try to find common codes in the image that have not changed much over time and are common to some of these drawings. Considering that the painters always tried to express what is depicted clearly and expressively and to convey the message of the work with the least ambiguity, we come across cases where the codes are the main messengers in the image. And have been preserved over the centuries and have not changed much. In the following, considering the contemporary work (Khosrow and Shirin Haerizadeh's painting) as a hypertext, we examine how to change each of these codes and try to find a type of hypertextuality in this excerpt. In examining the images, one can consider aspects of the narrative that lead to the image, composition and color, payment of faces and human states, as well as naturalism and background payment of the work in each painting. Examining the changes in these image codes, we find that the type of relationship between the hypertext and the hypertext is transformation (a fundamental change in the style of the hypertext), and most of the changes that occur in the common code of the hypothetical hypertext. It is a humorous change aimed at lowering the ideal values ​​of the prefaces. The painter has referred to the preceding paintings and stylistic and thematic destruction of them to express associated modern concerns. It seems that the hypertextual genre in this case is a travesty or satirical transformation of previous works. The results show that the hypertextuality type in this adaptation is a kind of Travestissement. According to Genette's opinion, the travesty hypertextuality is formed by crossing two indices of transformation relation and the satirical function. The travesty destroys its Hypotexts and alters its reality according to a satirical approach. We further can see such satirical destruction of the Hypertext in Khosrow and Shirin of Rokni Haerizadeh. The painter ridicules the poetic and romantic spirit of the work and the singing love of lovers, which is well accepted in Persian literature, and then attempts to alter them and create new meanings by referring to texts to the extent of the reader's ability to perceive them. These meanings are only perceivable by a correct understanding of the Hypertext. Here, the idealistic blitheness and beauty of nature are deformed entirely and the heavenly landscape turns into the middle of nowhere. The identity and originality of the characters in the story are also severely ridiculed. The splendor and beauty of the romantic scene turn into a strange and meaningless show that is performed in a more earthly and materialistic atmosphere. It is as if all the elements of the image have become worthless imitations of their origin. Certainly, the presence of painting prefixes and following the process of their transformation helps a lot in understanding and reading the work. This study is basic in terms of its purpose and descriptive-analytical in terms of its research method.
    Keywords: hypertextuality, Gérard Genette, Shirin Bathing, Rokni Haerizadeh, travesty (travestissemen)
  • Fahimeh Daneshgar *, Mona Taheri Pages 53-65
    Today, we are observing environmental propaganda bombardment all over the world, both in the metropolis and small cities. Every brand and service, whether new, reputable and familiar to the audience, uses a variety of visual media to introduce and promote their products and services; these media include billboards and bridge decks in the cities. Of course, with the trend of changing the face of cities as well as helping the environment, we are observing the use of electric billboards, digital billboards, and urban televisions more and more every day. But the use of printing media in urban environmental advertising as one of the beautifying elements in the urban environment is inevitable. Billboards and bridge decks belong to the family of posters; hence, we will define the poster scientifically only in terms of its function, because the expression of the physical and technical nature of the poster and its family is not appropriate to the subject of this study. The Canadian philosopher McLuhan has said that the poster is a collective image that sinks into the depths of a living society in space and time. This image gradually changes the audience's feelings to the extent that it motivates their creative imagination; thus, it somehow leads the audience to change social, economic, cultural, and political processes. One of the effective methods, which has special importance, is the use of attractive, diverse, and appropriate compositions to maintain the desired urban beauty and, of course, effectiveness, which ultimately leads to citizen satisfaction. In graphic media, the composition is a science. This science is based on determining the status of media elements within the frame so that it emphasizes the purpose of the message. Therefore, the relationship between the sizes and number of elements, their distances, their directions, their places, the emphasis on the importance of elements, their contrasts, and their color values ​​are examined and applied. In this regard, the internal forces and the interaction of the image components must be aware of the purpose of the message; which is a point that distinguishes composition in graphic works from composition in plastic arts. The graphic composition consists of two parts, image, and lettering. The image itself is created by the idea, composition, form, and color. Also in graphic works, the use of visual techniques with the help of the elements of the work is necessary to express the form that matches the content; in this way, the designer can be able to create various meanings with the help of visual techniques. In this research, we intend to investigate the type of composition and visual techniques and the appropriateness of their performance to be effective in urban printed static billboards and bridge decks. Also in graphic works, the use of visual techniques with the help of the elements of the work is necessary to express the form that matches the content; in this way, the designer can create various meanings with the help of visual techniques. We intend to investigate the type of composition and visual techniques and the appropriateness of their performance to be effective in billboards and bridge decks.The main question of this research is what is the type of composition and visual techniques used in urban billboards and bridge decks in Tehran (2014-2016)? And the sub-question is whether there is a trend of change in these three years.The main hypothesis: The types of compositions used in urban billboards and bridge decks in Tehran (2014-2016), although balanced, are mostly horizontal static and without expressive variety, so they do not create visual motivation in the audience. Sub-hypothesis: During the period of this research, the process of using composition and visual techniques has not changed significantly. The purpose of this study is to investigate the type of compositions used in urban billboards and bridge decks in the city of Tehran in the period from 2014 to 2016 from the perspective of diversity and balance of composition and also to study the visual techniques used in the compositions with emphasis on their effectiveness; to pave the way for creating more beautiful, expressive and effective works in the desired media. Related to previous studies according to this subject, it can be acknowledged that no research has been reported in the field of composition on billboards and bridge decks, and only one case of MA thesis entitled "The Importance of the Sharing of Image and Lettering on the Billboard" has been done under the guidance of Manavirad and Madari Mohaddes and written by Behnaz Arianfar at Al-Zahra University, which examines the strengths and weaknesses of lettering and the confrontation of image and lettering on Billboard design. The research method is descriptive-analytical based on a cross-sectional survey, which has been done about 404 printed billboards and printed bridge decks that were published in Tehran in 2014, 2015, and 2016. The choice of this period was not optional and was only due to our access to these works, which the cases studied in them can be observed and generalized at all times. For classification and information analysis, first, the works are examined from the perspective of types of composition, factors affecting the composition, and then the use of visual techniques. Finally, the frequency of each year is calculated separately and the average frequency of three years is calculated together, to avoid any doubtful results and to achieve a better understanding of the positive and negative points of the composition of the statistical community with the aim to examine its effectiveness. Because the evidence of the composition of a work, which affects the audience and their satisfaction and motivation, is concentrated in their subconscious.Overall, the result of this study suggests that, according to Gestalt theory, instinctively the first and most enduring visual contact, emotional and affective response of the audience to the work is its plastic composition. In graphics by using visual techniques, various compositions are made with the help of visual elements to convey beautiful and effective expressions that fit the desired content to the audience more clearly, explicitly, and more powerfully. A clichéd composition that is too unified bothers the audience with too much disorder. People are eager for diversity and unity i.e. any action is at a standstill position. The works of our statistical community have a moderate interest in terms of organizing the visual composition, although they are mostly balanced and have a relatively good gestalt, which is due to the visual knowledge of the designers; because they are mostly in a horizontal static position. Also, the visual techniques to create special compositions to emphasize and reinforce special expressions, that have particular importance in graphic works, except the use of high-frequency dispersion technique, has not been used much. So, this process may make citizens bored and the messages become ineffective. Because the advertising design is not just the form, color, image, etc., but it must convey a specific content and message to the audience and impress him. One way to provide this is to use a variety of compositions which is appropriate to the subject and also use visual techniques to create beautiful and effective compositions.
    Keywords: Tehran urban advertisement, billboard, Deck of the bridge, plastic composition, Visual techniques
  • Sahar Zekavat *, Abdolreza Chareie Pages 66-76
    Persian miniature art represents the enrichment of Iranian art and it also has a historical significance in the cultural and social subjects. The Shahnameh of Baysonghor Mirza is one of the most important and beautiful manuscripts and it belongs to the Timurid period and it is the result of the efforts of Herat school Painters In the art workshop of Baysonghor Mirza. This manuscript was prepared and illustrated in 833 AH by the order of Baysonghor Mirza, son of Shahrokh and grandson of Timur Gurkhani and it has 22 paintings written by Molana Jafar Tabrizi. Also, the painters of Baysonqor’s Shahnameh are Master Amir Khalil and Master Ghiyas al-din (same as Pir Ahmad or Seyyed Ahmad) and Master Khajeh Ali Illuminated it and Master Ghavam al-Din also made its cover. Baysonqor’s Shahnameh is kept in the library of Golestan Palace in Tehran and the number and size of this manuscript pages are 690 pages and 384 by 265 mm and its diameter is 75 mm, respectively. It is necessary to mention that Jamshid's kingdom is one of the 22 miniatures in this Shahnameh of Baysonghor manuscript. Also, Jamshid Shah is one of the first kings to play an important role in the deployment of Iranian culture and civilization and the text of the Shahnameh narrates his Empire and function and scenes of his government have been illustrated in the Baysonqor’s Shahnameh. Therefore, it seems necessary to study the identification of the types of artifacts and Persepolis in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and to recognize how Illustration these professions and crafts as a research purpose. In Ferdowsi Shahnameh, Jamshid Shah is introduced as the greatest and most powerful Pishdadi king and son of Tahmorath and a prominent example of an idealistic king in Iranshahr and it is one of the most original myths of India and Iran. Jamshid Shah is the only person in Avesta except for Zoroaster who speaks face to face with ahura Mazda. His era is one of the most brilliant mythological periods in Iran and during the reign of Jamshid Shah, there was no death, disease, cold, or heat in the world for three hundred years. Jamshid Shah has established the great and annual Nowruz among Iranians and many aspects of human civilization have been attributed to Jamshid Shah. He was the first to make weapons such as helmets, armor, and sword. He has also developed techniques and occupations such as textile weaving, house building, shipbuilding, medicine, and the extraction of precious stones from mountains and the sea, as well as the extraction of metals from mines. It should be added that Jamshid tried to increase the level of public health and hygiene. Achieving Gholab, oud, and amber and building roads, and developing cities are other functions of Jamshid Shah. He also established the four social classes and levels. Therefore the present study was done to answer these questions: 1- What professions and crafts have been depicted in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh? 2-What are the Properties of types of professions and crafts in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and how are these crafts portrayed? It should be noted this research is a descriptive-analytical study and its data and information were collected by searching in the library, documentary, and visual resources. Findings show that in the painting of Jamshid kingdom in Baysonqor’s Shahnameh, Jamshid Shah is sitting on a throne and he is wearing gloves and is exchanging the hunting bird and around him, there are craftsmen and artisans, each engaged in a specific industry and activity. The text of Shahnameh shows that Jamshid Shah during his rule has expanded some jobs and aspects of civilization and culture such as making war tools (helmets, armor, and war clothing), softening iron, weaving linen, silk, and Ghez hair, and producing Diba and fur, sewing clothes, promoting agriculture, expanding architecture and building houses, baths, and palaces From stone and gypsum materials, extraction of gems and precious stones, production of fragrant aromas such as ban, camphor, pure mushk, uod and amber, and Gholab, medicine and treatment of diseases, as well as shipbuilding. Comparison of the mentioned cases with the details of the picture shows that the cases of making war tools (helmet, armor, and war coat), softening iron, weaving of linen, silk, and Ghez hair and producing Diba and fur, sewing clothes in the picture Illustrated and promoting agriculture, expansion of architecture and building of houses, baths and palaces from stone and gypsum materials, extraction of gems and precious stones, production of aromas such as ban, camphor, pure mushk, uod and amber, and Gholab, medicine And the treatment of diseases as well as shipbuilding is not seen in the picture of the painting. Also, it should be noted that Jamshid Shah is seen exchanging the hunting bird, which shows the expansion of the bird-hunting training industry during the Timurid period and Ferdowsi has not mentioned this issue in the text of Shahnameh. Also, it can be seen a person in the painting who has a bag such as a letter bag on his waist, and the text of the poems does not mention the development of writing or correspondence. Regarding the details of the illustrated industries and occupations, it should be added that the making of war tools in the text of the poems is used with the phrase-making helmets, armor, and war clothing, which can be seen in craftsmen working with hammers and Special engraving tools in the picture of the painting and a helmet can be seen on the ground next to one of the craftsmen was hammering. Also, there are tools such as metal cutting scissors and a metalworking toolbox. In the case of iron softening, the illustrator depicts these cases by picture a metal smelting furnace, a blower machine to increase the temperature of the furnace, and a person working with the blower machine. In the lower part of the painting, two people have depicted hammering and shaping the metal and so-called softening it and the weaving of the cloth is also shown in the form of a weaving machine and a spinning machine and The sewing job is also seen as a person cutting the cloth and another person sewing the cloth. It should be noted that the industrial arts in the Timurid period, the Timurid princes had grown up in a knowledgeable and artistic environment and after Timur Gurkhani, they cultivated art and encouraged and gathered artists and craftsmen in their territory in Transoxiana, Khorasan, Iraq, and other regions. Baysonghor Mirza Bahadur Khan was the grandson of Timur Gurkhani and the third child of Shahrukh after Elegh Beyg and Ibrahim Sultan and according to historical documents, he was an educated person, artist, art lover, and litterateur. During the reign of Baysonghor Mirza, Developed literature and poetry and the arts such as painting, calligraphy and writing, bookbinding, goldsmith, carpentry, blacksmithing, pottery, textile weaving, gardening, and architectural arts such as inscriptions technique and wooden arts such as inlaying and expansion of the bird-hunting training. A comparison of the details of painting with the occupations and industries of the Timurid period shows that the painter did not mention gardening, bookbinding, calligraphy and writing, goldsmith, carpentry, pottery and architecture, and the art of inlaying, and also, in the details of the painting, Jamshid Shah is Illustrated exchanging a bird-hunting and this shows that the painting emphasizes the skill of Jamshid Shah in Training birds-hunting and hunting with birds of prey and in this painting, the painter Illustrated the job and industry of the bird-hunting training from the common occupations of the Timurid period and painter from the common industries of his time, he only illustrated occupations such as the bird-hunting training, smelting metals, blacksmithing and making the helmet, spinning and weaving cloth, dressmaking.
    Keywords: Jamshid’Keywords: Jamshid’s kingdom, miniatures.s kingdom, Baysonqor’s Shahnameh, professions, crafts, miniatures
  • Samira Rabizadeh *, Nahid Jafari Dehkirdi Pages 77-90
    One of the methods used to understand and analyze a text is the use of semiotic principles. Visual semiotics can visualize and shape, and in a set such as contrast, proportion, balance, angle of view, etc., the position of symbols in a visual text can be examined. In the history of Iran, artistic and literary creations have always led to the formation of many illustrated forms. In this illustrated version, there are always artistic transformations of the poet and painter, which is based on the worldview of visual art. So that despite the beauties in this world, there is an internal link between Persian literature and Iranian art, which has led to the creation of various themes in these artistic fields based on a unique vision and the same mentality. Therefore, the conformity of imaginary forms in Persian poetry and Iranian painting causes the same pure descriptions that speakers give of human elements to nature and objects, this meaning can be found in the illustration of painters' work. Just as the painter visualizes the characters and scenes of the story and the inner themes with the language of calligraphy and color. Such a connection can be seen between the written and visual text in Tahmasepi's Shahnameh. This work is based on Ferdowsi's Shahnameh and according to the worldview of the illustrator, in which he shows the cultural and artistic influences of Iran related to the Safavid era. Throughout human history, the writing of forms and shapes has helped to induce concepts and describe stories and narratives, this has led to a mutual commitment of literature and art and gives a unique crystallization to culture. Several factors that are the main feature of Iranian culture and civilization, caused the illustration of literary manuscripts, especially the Shahnameh, to become a stable tradition, and accordingly, many manuscripts were written and illustrated in previous periods. One of these valuable copies is the Shahnameh called Tahmasepi, which was written in the Safavid era in Tabriz in 928 AH. Written. One of the prominent features in this collection is the use of visual elements that are commonly related in the drawings and has led to the compilation and visual completion of a narrative.One of the most influential narratives from the great book of Shahnameh is the story of the killing of Rostam and Sohrab. This tragedy has not passed by the painters and they have illustrated several pictures of it; Tahmasepi Shahnameh is one of the illustrated copies that include the artistic-literary masterpiece of Tabriz II School. This story has been illustrated from the beginning to the end by famous painters.In general, seven illustrations related to this story have been illustrated, which are: 1- Sohrab taking a horse, 2- Sohrab's battle with Gerd Afrid, 3- Kikavous asking Rustam to go to war with Sohrab, 4- The first day of Rustam With Sohrab, 5- throwing Sohrab into Rostam, 6- Sohrab's death, 7- Rostam's lament in Sohrab's death can be mentioned. Among these assemblies, 3 images of the battle of Rostam and Sohrab are studied based on visual semiotics; these drawings will be interpreted and examined based on the original text and visual semiotics. It is worth mentioning that the use of visual cues in the form of visual messages in the visual text plays a decisive role. Because the image has an extraordinary effect on multiple meanings and creates innumerable and different meanings. Therefore, by reading the visual cues from the text of the drawings, the semantic layers of them are revealed and the messages hidden inside the text and the image are analyzed and examined.The purpose of this study is to investigate the visual cues used in 3 pictures of Rostam's battle with Sohrab; the authors try to use the descriptive-analytical method of library studies as well as the underlying concepts and structural relationships that examine the artist and answer the following questions.1- What method of visual semiotics have the painters of the illustrated version of Tahmasepi Shahnameh used to convey the inner meaning of the text in the image in the composition of the drawings?2- How did the painters of the illustrated version of Tahmasepi Shahnameh use the system of visual semiotics to convey concepts in the painting so that the audience receives the concept from those meaningful signs?By examining the structure of visual symbols in 3 drawings of Tahmasepi Shahnameh, it indicates that the artist has been able to formulate a clear message based on perceptual quality to make the drawings tangible and understandable in the compositions. Even the meaning of the image, which is a sign between the subject and the composition, has led to a coherent process in how the image is configured. Therefore, in this research, by identifying the structural and visual elements in the drawings, that complexity can be revealed beyond simplicity through visual and visual cues. Since there is a clear connection between the subject of the drawing and the visual cues and the combined elements; To convey the meaning through visual cues, the painter uses items such as 1) using the same angle of view with the audience in all 3 drawings and even referring to the inner force of the two main characters in the story, 2) the proportion of elements based on the subject In all 3 drawings, they are illustrated in order to quickly transfer the concepts and the subject. 3) Contradiction of the forces of good and evil that is used to focus and continue the story and these dependent variables attract the audience's attention; And despite the many variables in the main subject, but a balanced balance between the elements and visual signs is presented, 5) the use of far and near space, which indicates the direct presence of the audience on the events of the story and the same in the general story in all 3 The painting is presented and even provides the audience with the use of repetition of free space without showing the architecture on the breadth and variety of the subject, all of which the painters have used in the best way in the composition of their works.Results of the aspects of visual and visual signs in the concept of the elements of the composition of the three images of the battle of Rostam and Sohrab, which can be presented as follows:1- The visual signs in the paintings are mostly based on the artist's worldview and are inspired by the original story in the paintings, which can be referred to as the image of Rostam, Sohrab, Kikavous, and other people who had a role in this story; But the painter has only paid attention to the main members of the story and has shown them in the picture, and has established a kind of connection between the signifier and the signified between the two written and visual texts.2- The elements of the visual signs are used in the form of geometric patterns and arrays such as the art of gilding, which are well executed and combined in the war costumes of the heroes and other people present and the war equipment in the painting. The variety of colors has been used in the paintings, which, like the variety of colors in the painting of the first day of the battle of Rostam and Sohrab, has overcome excitement and movement on the battlefield.The features of the visual signs of natural elements in the paintings, such as clouds, shrubs, and shrubs by the water, indicate the greenness and continuity of the story, and the water itself, which means freshness and vitality, and in a way eliminates any impurity. Is that in all 3 drawings has a role on the image and in each of them shows a different side of the subject of the drawing. The painting of the third day of the battle between Rostam and Sohrab, the element of water in the composition, covers a small part of the bottom of the painting, which the painter uses as a visual sign for the end of Sohrab's life and is somehow related to death and the end of the story; In this sense, semiotics is a kind of sign created from elements to related conventions whose meanings are attributed to the visual meanings in the drawings.
    Keywords: Semiotics, Tahmasepi Shahnameh, Painting, Visual Semiotics, the battle of Rostam, Sohrab
  • Reza Rafiei Rad *, Mehdi Mohammadzadeh Pages 91-107
    In contemporary Iranian painting, unlike in the past, women as painters have had a significant and decisive presence and their numerous presence has had a significant qualitative and quantitative impact on the state of the country's art. In the history of Afghan art, before the contemporary era, there is no sign of the presence of women artists. Meanwhile, full of impregnable peaks such as Behzad and the brilliance of the names of men such as Shah Rukh, Abu Saeed, Sultan Hussein Bayqara and princes such as Baysanghar, Ibrahim, Momen, and Muzaffar Hussein as patrons of art and artist, indicate the patriarchal atmosphere in the history of Afghan art. Even the emergence of artists who appeared in the courts after Behzad, such as: "Mohammad Azim Abkam" in the reign of Amir Dost Mohammad Khan or "Mirzamanuddin Khan" and "Mir Yar Beyk Khan" and also the master of "Hesamuddin" during the reign of Amir Abdul Rahman Khan (Shahrani, 1971: 5-25) also emphasizes this. Contrary to the prevalence of Taliban extremist ideology, which has seriously undermined women's rights (Appelrouth, & Edles, 2011: 315), the effects of these patriarchal laws in Afghanistan have continued, even after the overthrow of artistic patriarchy in some areas. (Najafizada & Bourgeault & Labonté, 2019: 24)It should also be noted that the cities of Herat, Kandahar, and Kabul (which are important artistic centers today) are located on a crescent that has been influenced for many years by the Sufi thoughts of two influential families, Mujaddidi and Gilani (Mottaqi and Rashidi, 2012: 90) and this has been effective in limiting the presence of women in the social, cultural and artistic fields, but sociological research conducted in recent years at Herat University shows that the presence of women in the field of art, including Contemporary painting, is widespread. (Kaveh, 2018: 51) and (Azad, 2017: 72) reasons for the widespread presence of women in the history of contemporary painting in Iran and Afghanistan is another research topic. what is relevant to the present study and emphasizes the need for research is the emergence of a large number of women painters who have a place in the history of art. They do not have a country and now, unlike in the past, they form an effective part in the history of Iranian painting and the history of painting in Afghanistan, and they play an effective role in determining the present and future direction of the art of these countries. Therefore, the way they have reacted to the interaction of the artistic tradition with the import of the basics of art is crucial in the art history of these two countries. In Iran, Qajar painting before the Nasserite era was "unrelated to ancient civilization" and "influenced by the arrival of Western elements and its affiliates". Also, "folk elements" on the one hand and "archeology" on the other hand are its features. However, with the influence of European art in the era of Nasser al-Din Shah, this dependence intensified so much that it led to the "elimination of traditional painting and book decoration" and oil painting with completely Western themes and methods spread on a large scale. (Mousavi Lor and Shirazi , 2019: 91) But the search to find intermediate solutions in contemporary painting, continued in the group of painters who used the old motifs and forms of performance in modern art, so much so that some of these explorations "continue to try to find a lost audience" (Aghdashloo, 2006: 132).Now the problem is how the contemporary female painters of these two countries interact, as an emerging and influential group, in the field of visual arts, which, along with male painters, on the one hand with visual and visual capital of painting, and on the other hand with the import of modern visual principles and influences. The question is, in the application of the works of contemporary Iranian and Afghan women painters, what methods have been proposed for the use of painting in contemporary painting? And what are the similarities and differences between these methods?This research has been done by using descriptive-analytical and comparative methods, using the library, internet, and archival resources. In the history of contemporary painting in Iran and Afghanistan, there are a large number of male and female painters (art graduates, etc.) and therefore in the present study, the selection of painters is based on professional characteristics such as age over thirty with a long career in painting. Graduates of art schools inside or outside the two countries who have held at least one domestic or foreign exhibition, selected from prestigious domestic or foreign festivals, or solo exhibitions inside and outside the two countries were restricted.The painting was affected by a series of economic, political, and cultural developments that took place with the establishment of relations with Western countries and the introduction of modern thought and its tools in Iran from the Safavid period onwards and in Afghanistan during the reign of Amanullah Shah. Problems did not stop and appeared in various forms in some contemporary paintings. Contemporary art of Iran and Afghanistan is witnessing an increase in the presence of women as artists in the field of art, especially painting, which has led to the presence of a new and influential stratum in the art history of these two countries. The entry and influence of modernism in its aesthetic aspect, which spread through various means, including the establishment of universities and art training centers and the use of Western graduates, also influenced artistic methods, themes, and techniques. However, the women contemporary painters of these two countries, considering the structural aspect of the visual painting tradition, reflected some aspects of painting in contemporary paintings, some of which are not seen in the works of contemporary painters. In this regard, the findings of the present article indicate the similarities and differences in these methods and techniques of women contemporary painters of these two countries. Their common methods can be seen in the form of surface analysis, the use of contemporary objects, the use of plant and animal motifs, following the evolution of contemporary painting, the application of the basics of Western visual arts in painting, and changes in materials and concepts, with minor or general differences. In the surface analysis method, the Afghan female painter divides the home page and the visual tradition of breaking the frame into painting. Iranian women painters use the effects of the pictorial tradition of painting with the changes that they make on the surface, especially in the facades of the architectural building. Both groups of painters have used contemporary objects in their traditional painting methods. contemporary painting style, especially the style of Farshchian, can be seen in the works of women painters of both countries. The difference between the use of plant and animal motifs in the paintings of women in these two countries is that the role of mythical animals in Afghanistan and the representation of horses in Iran are recurring patterns. In Afghan women's paintings, plant and animal motifs are usually seen in the representation of traditional objects such as carpets, pottery, etc. that have plant and animal ornaments on their surface. As the female painters of both countries are university graduates, they are well acquainted with the basics of Western visual arts. In the works of some Afghan women, it can be seen that sometimes, the sun, the frame, and the gilding, have been transformed into a visual element such as a line or a surface and have participated in the composition. there are ways to use paint in the contemporary painting of women painters of two countries that are specific to each country and can not be summarized in a common title. These include some of the contemporary paintings of Afghan women who have used the basics of painting to present the genre of painting. Also, by changing the color of the halo around the head, which is an evolution of the fifth decorative principle of painting, to black, they have achieved a new meaning in contemporary painting. In Iran, the letters of the Persian alphabet (which, like painting, evoke the accompaniment of text and image) are seen in the works of contemporary female painters but have no precedent in the works of Afghan women painters. The representation of the horse is also abundant in Afghanistan, in the works of contemporary male painters, but has no precedent in the works of women.
    Keywords: contemporary Iranian painting, Contemporary Afghan Painting, Painting Traditions, Iranian, Afghan Women Painters
  • Zahra Rahbarnia, Soheila Namazalizadeh * Pages 108-116
    Participatory Art is an approach to making art that engages public participation in the creative process, and observers of the work. This type of art is incomplete without audiences' physical interaction. The activities of participatory art challenge the dominant form of making art, in which a small class of professional artists makes the art while the public takes on the role of passive observer or consumer. Participatory art requires the artists either not to be present, or that they somehow can recede far enough to become equal with the participants. Participatory art creates a dynamic collaboration between the artist, the audience, and their environment. This kind of art is not just something that audiences stand and look at. The fact is that the aim of the artist is that the audiences take part in the process of making art to create and learn more and more. It is important to mention that participatory art exists under a variety of overlapping headings, including interactive, relational, cooperative, activist, dialogical, and community-based art. In some cases, participation by a range of people creates an artwork, in others the participatory action is itself described as the art. Participation in the collective creation of art is not new. Across the globe, throughout recorded history people have participated in the creation of art from traditional music and dance to community festivals to mural arts. Today, the value of participatory art is measured by its effects on a specific society or around the world. Therefore, the artists of participatory art try to find out the suitable solutions to improve the important problems of societies by attractive interesting ways and new artistic ideas. Today, the artistic team consisting of artists and participants has started an effective movement to decrease the difficulties of the environment too. At present, one of the important issues to attract the attention of many different groups of society such as artists is environmental problems. In this regard, artists attempt to overcome the challenges of environmental difficulties by unique and new methods, including participants' voices and their discourse. Dialogue is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. Dialogue and polyphony which include a diversity of simultaneous points of view and voices are relevant to the thought of Mikhail Bakhtin (1895- 1975). Mikhail Bakhtin was a Russian philosopher, literary critic, and scholar who worked on literary theory, ethics, and the philosophy of language. His writings, on a variety of subjects, inspired scholars working in many different traditions (Marxism, Semiotics, Structuralism, Religious Criticism) and disciplines as diverse as literary criticism, history, philosophy, sociology, anthropology, and psychology. Bakhtin's communication legacy reaches beyond rhetoric, social constructionism, and semiotics as he has been called the philosopher of human communication. Bakhtin concentrates heavily on language and its general use. Bakhtin's theories on dialogism influence interpersonal communication research, and dialogism represents a methodological turn towards the reality of communication, in all its many language forms. To understand Bakhtin as a communication scholar, it is important to recognize the features of dialogue. For Bakhtin, the social world is also made up of multiple voices, perspectives, and subjective ‘worlds’. To exist is to engage in dialogue, and dialogue must not come to an end. According to Bakhtin`s perspective, dialogue does not occur between fixed positions or subjects. People are also transformed through dialogue, fusing with parts of the other’s discourse. The other’s response can change everything in one’s own consciousness or perspective. Dialogue can produce a decisive reply which produces actual changes. In addition to dialogism, he is known for a series of concepts that have been used and adapted in many disciplines: the carnivalesque, the chronotope, and heteroglossia. Carnivalization is a term used by Bakhtin to describe the techniques Dostoevsky uses to disarm this increasingly ubiquitous enemy and make true intersubjective dialogue possible. The "carnival sense of the world", a way of thinking and experiencing that Bakhtin identifies in ancient and medieval carnival traditions, has been transposed into a literary tradition that reaches its peak in Dostoevsky's novels. The concept suggests an ethos where normal hierarchies, social roles, proper behaviors, and assumed truths are subverted in favor of the "joyful relativity" of free participation in the festival. Carnival, through its temporary dissolution or reversal of conventions, generates the 'threshold' situations where disparate individuals come together and express themselves on an equal footing, without the oppressive constraints of social objectification: the usual preordained hierarchy of persons and values becomes an occasion for laughter, its absence an opportunity for creative interaction. In carnival, "opposites come together, look at one another, are reflected in one another, know and understand one another. Dostoevsky's art: love and hate, faith and atheism, loftiness and degradation, love of life and self-destruction, purity and vice, etc. Everything in his world lives on the very border of its opposite. According to Bakhtin’s opinion, Dostoevsky was the creator of the polyphonic novel, and it was a fundamentally new genre that could not be analyzed according to preconceived frameworks and schema that might be useful for other manifestations of the European novel. Dostoevsky does not describe characters and contrives plot within the context of a single authorial reality: rather his function as the author is to illuminate the self-consciousness of the characters so that each participates on their terms, in their voice, according to their ideas about themselves and the world. Bakhtin calls this multi-voiced reality "polyphony": a plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices. Later he defines it as "the event of interaction between autonomous and internally unfinalized consciousnesses. On the other hand, Polyphony in literature is the consequence of a dialogic sense of truth in combination with the special authorial position that makes possible the realization of that sense of truth on the page. Bakhtin reads Dostoevsky’s work as containing many different voices, unmerged into a single perspective, and not subordinated to the voice of the author. Each of these voices has its perspective, its validity, and its narrative weight within the novel. Dostoevsky’s ‘dialogical principle’ is counterpoised to the ‘monologue’ (single-thought discourse; also termed ‘homophony’ – single-voice) characteristic of traditional writing and thought. In the monologue, one transcendental perspective or consciousness integrates the entire field, and thus integrates all the signifying practices, ideologies, and desires that are deemed significant. Anything irrelevant to this perspective is deemed superfluous or irrelevant in general. This investigation studies the effectiveness of participatory art on the environment and seeks to answer this question: How the participatory art can improve the challenges of the environment by diverse voices of audiences and their discourses?The research method is descriptive-analytical. The data collected by library and internet resources. Since Bakhtin`s view is focused on Dialogue and Polyphony Heteroglossia, in this article the analysis of participatory art is based on Bakhtin`s ideas. The purpose of this article is to investigate the effectiveness of participatory art in improving environmental challenges. In this regard, the stages of specific participatory art activities that took place in Portugal (2013) were selected to survey based on Bakhtin`s views. Adapting Bakhtin`s ideas with the mentioned participatory art activities show that in different stages of an audience-centered participatory art process, the artist can use the local initiatives, simple actions, without using computer-centric patterns. Participatory art by providing equal opportunities allows participants to talk freely and express their ideas and experiences concerning the place where they live. Expressing the features of a particular place and recalling its favorable past conditions, cause to increase participants' understanding of the place. Therefore, in an appropriate atmosphere by dialogue, audiences can suggest useful solutions to solve the environmental challenges.
    Keywords: participatory Art, Bakhtin`s view, Dialogue, Polyphony, Carnival, Environment
  • Farzan Sojoudi *, Shelir Ataie Pages 117-127
    Portraiture and making portraits of kings and others in a position of power have, for long, been considered to be an old tradition in human history. Generally speaking, in Iran, portraiture has always had a definite framework that originated in the world view and epistemology of Iranians. As of the mid-Qajar era, during their encounters with the West, Iranians’ epistemological framework underwent drastic changes due to global and regional developments at the time. This period marks the beginning of the so-called ‘discursive turn’.  Modernism, as a form of discourse, introduced new terms and concepts into the Persian language, which in turn, brought about big changes in several fields.From Laclau and Mouffe’s perspective, social affairs serve as discursive structures which are fathomable but unstable and come with other potential meanings capable of challenging or transforming the structure of discourse. Inventing new terms such as ‘articulation’, ‘nodal point’, ‘floating signifier’, ‘element’, ‘moment’, and ‘chains of equivalence and difference’, Laclau and Mouffe showed how a cluster of signs with fixed meanings are formed into a network within a discourse, and therefore, create a unified meaning.The second Qajar era witnessed a social conflict between two macro discourses over fixing the meaning. Signifiers of modern discourse were in inherent conflict with those of nodal discourse. Modern discourse appeared in the margins of nodal discourse and reached its climax during the Naseral-Din Shah era; ultimately, it was transformed into hegemony in the form of a political-social movement called ‘constitutionalism’. A question arises here: what is the effect of the changes made in the macro discourse dominating the society on the portraiture of Qajar kings and others holding a position of power?The main issue in a theory of discourse is that how people in societies come to perceive themselves. In other words, how people in different societies define themselves, and, consequently, of what nature their behavioral pattern is. In hegemonic systems, there is no mutual relationship between the king and peasants. They are innately separated from each other. In hegemonic governments based on the coalition between religion and the royal court, ‘sacredness’ is a tool to legitimize the authoritative nature of the government. In such an authorial discourse, the king is the only competent authority who can establish laws, and since the institution of power is relying on the hegemonic signifier ‘Islam’, any opposition to the king is considered to be opposition to God and Shari'a. In accordance with the system of belief in this semantic structure, belief in religion and the unseen contributes to inherent inequality among humans. Reasoning has no function in this system.Artistic production cannot be investigated out of the context of social discourses. During the Qajar era, nodal discourse gained legitimacy through possession of sources of producing culture and art. What was authorized to be represented had to be in accordance with legitimizing the government of the time. Nodal discourse, by nature, always selects the kind of media which are traditionally-oriented and have repetitive criteria. Such a discourse always tries to preserve its stability which puts it in a defensive position with fewer changes. The court intends to promote a kind of art that comes with fixed, established, and high norms.As is observed, dictated orders by royal court discourse to the king’s identity have been portrayed. In his way, the function of the king’s portraits is to strengthen such ruling norms. Due to the gap in the epistemological framework of Iranians living during the second Qajar era, micro-and macrosocial relations between the king and the society kept a distance from symbolism and mythology. The king was no longer a sacred epic figure to be multiplied in impressionistic portraits. Although Fath-Ali shah must be portrayed with pure authority, the ideal representation of the king no longer bears importance in the new semantic system.With discursive turn and establishment of such signifiers as ‘law’, ‘equality, and ‘justice’ as the most important signifiers of the marginalized discourse during the Naser al-Din shah era, degraded under the influence of the world view and the norms ruling over classic art, individuality and individual portraits gained ground and influenced, in turn, the nodal discourse in Iran. In portraits, faces kept a distance from ideals.Evolving around such concepts as law, justice, and equality, a special kind of discourse penetrated the highest discursive levels in Iran as a result of which access to the king as an authority holding the highest position of power was made possible. With the king being in access more than before, he became smaller and smaller; in this way, his portraits became more realistic, more tangible, and more materialistic. with the establishment of laws, patriarchal interpretations of the king and his sacredness were marginalized and challenged, respectively, and the fact was differently articulated. As we move towards the hegemony of modern discourse, we witness a new representation of monarchy which is a result of developments like discourses intervening with the representation. Portraits attempting to renew the damaged legitimacy of the monarchy are signs of transcendental power and sacredness of the marginalized king. The elements of the portraits are material and the portrait maker had adopted a realistic manner towards the representations of the objects.Modern discourse increased the king’s availability, with the halo around his head getting smaller, him becoming more real, and reality being differently articulated. An ideal representation of the king lost its legitimacy. Moving closer to harmonization of the signifier ‘law ‘, we experience growing changes.To sum it up, it can be claimed that a study of portraiture in the first and second Qajar era shows changes in representation. Symbolism and sacralization of the king are increasingly marginalized, with the king dethroned; this is caused by factors accounted for by the change in the nature of discourses.Portrait analysis reveals that a representation of the king as an existence dominating that of his audience is far from probable out of the context of discourse. In the portraits, the king keeps his social distance from the audience, in such a way that the distance is not an obstacle to him being easily recognized by the audience, nor is the nearness blurring the distinction between him and his audience. However, the situation is not the same as far as portraits made of common people are concerned. A most realistic representation of their faces is made in the center of the portrait with a direct look into the eyes of the audience, who may recognize such common faces as ‘insiders’.
    Keywords: Discourse analysis, Laclau, Mouffe, modernism, Portraiture, Qajar
  • Chnoor Saidi *, Fateme Saidi Pages 128-140
    In 1949, the American mythologist Joseph Campbell tested this approach of Jung, the hero of the narratives of every nation and civilization. He analyzed and came to a similar conclusion to Jung's theory that the myths of each civilization and culture, despite the differences in details, contain many similarities in the structure of narratives. That is, in every archetype, there is a pattern of the "hero's journey" which is a flexible and adaptable example and can contain infinitely diverse forms and chains of stages; In other words, depending on the needs of each story, the journey steps can be omitted, repeated, or moved. Therefore, in all myths, the hero is a symbol of the emergence of self-awareness and his effort to evolve and grow. The main effort and goal of the hero of the story "Victory over ignorance" he studied the mythical structure in various civilizations and cultures, he believed that in the mythical structure for the hero's journey, there are three stages of departure, arrival and return. They can be found in Hasanlu's Golden Cup portrait. A clear example of this can be seen in Hassanlou's Golden Cup photo. The purpose of this article is to study the archetype of the hero's journey in this painting, which is one of the most significant and distinguished works of art in Iran, using the mythological approach of Joseph Campbell. This essay tries to show, using Campbell's theory, how in the painting of Hassanlou's Golden Cup, the artist overcomes himself by using the archetype of the hero's journey, and finally reaches a spiritual and evolved personality. The importance of this issue is that according to the mentioned topics, the ultimate goal of the artist has been to reflect national themes in his works of art and he has used mythical images to depict this national attitude. Now the question is: Does Hassanlu's Golden Cup portrait overlap with Joseph Campbell's "Pattern of the Hero's Journey"? If these archetypes are present, how can they be analyzed based on the archetypal theory of the hero Joseph Campbell?The method of research in the present study is descriptive-analytic and the authors use the archetypal orthography and considering the theory of "hero journey" of Joseph Campbell, with which the electronic part of the "hero journey" of the artistic narrative of the World Cup illustrations needed to be studied. The method of collecting information is the library method.Archetypal critique is one of the most important and prominent theories of literary criticism, which can be used as a basis for studies of national attitudes. The archetype of the hero's journey is one of the themes of this critique. The famous mythologist Joseph Campbell, using Freud's theories, especially Carl Jung, and by studying the heroes of every civilization and nation, proposed this archetype. In this archetype, the hero of artistic narratives intends to travel to the spiritual world and begins his journey. On the way, he encounters adversaries and after overcoming them, he leaves the worldly world. A spiritual figure returns to his homeland and communities. In Joseph Campbell's view, the archetype of the hero's journey consists of three stages: departure, separation, arrival, and return, each of which is subdivided. He puts it this way: The mythical hero sets off and heads for The threshold of the path drawn, where it encounters a shadow that guards the transition. The hero may defeat this force or the opposing force will kill him. On the other side of the threshold, the hero travels in a world full of forces, some of which threaten him severely, while others come to his aid with eternal help, enduring great hardship and rewarding him in return. Victory may be in the form of a connection with the Goddess, or the form of acceptance in the presence of the father, or the form of the god himself becoming a hero, or in the form of stealing blessings. The last task is to return. On the eve of the return of the hero, he must overcome the transcendental forces and leave the realm of terror. This pattern itself contains the following sections: The first stage is separation or departure, which is related to the initial parts of the journey. From the hands of the gods 3. Unseen help means relief and help that comes from the unseen to help the one who has set foot on the determined path 4. Crossing the first threshold 5. Whale belly or crossing the realm of night. The second stage of the journey is related to the encounter of the hero with the adversaries, with which the hero reaches spiritual development and growth, and consists of 6 stages: 1. The path of trials or the dangerous face of the gods 2. Childhood 3. Woman as a tempter means understanding the experience of Oedipus' torment 4. Reconciliation with the father 5. Becoming a god 6. The final blessing. The third part, the return, consists of 6 items. Refusing to return or deny the world 2. Eternal escape 3. Reaching help from outside 4. Crossing the threshold of returning or returning to the normal world 5. Lord of two worlds 6. Achieving freedom in life or the nature or function of the ultimate blessing »on the Golden Cup Hasanloo, the hero of the narrative, is called by a great man to the spiritual journey, and after separating from worldly belongings and the everyday world, and with the help of occult aids and battles with animals and creatures, each of which is a symbol for carnal desires and aspirations, The test arrives, the hero of the artistic narrative is invited to fight the devil by the great land after birth and leaving his mother, and he accepts the invitation at the beginning of the threshold with the unseen help of the lord of the species riding in a chariot with animals such as lions and three The snake fights and then in the test phase fights the demon who is a symbol for the devil and destroys him and gains the water of life. At this stage, by overcoming carnal desires, he has reached human evolution and growth, and he is confronted with a naked anime in which God wants to deceive him with his naked body. He overcomes it with the help of relief forces, and after overcoming He attains much immortality on the demon, and after overcoming these difficulties, he achieves the final blessing, which is to save the people of his land from oppression.
    Keywords: Hasanlu Golden Cup Gallery, Heroic Journey, Departure, Arrival, Return, Joseph Campbell
  • Alireza Sheikhi *, Akram Pilechian, Fatemeh Zahmatkesh Pages 141-163
    Iranians have always been pioneered in the construction of public buildings, including baths during the Islamic era. Purification in the religion of Islam led to the emergence of the bathhouse, a place of purification. Of course, the bathroom was not only for purification but also a place for performing customs and rituals and cultural and social traditions. And it seems that Islam's recommendations to observe purity in the development of bathhouses have played a significant role especially during the flourishing of Islamic civilization. Bathhouses with murals in various fields have remained during the Qajar period which is the continuation of Safavid and Zand art. Mural painting reached its peak during the Safavid period and continued until the Qajar period. It is one of the visual arts which has changed from cave murals to designs on the walls of palaces, baths, coffee houses, and city walls and is a way to communicate with the audience through painting. To connect the wall parts and the whole architecture of the building, mural painting requires a style that conforms to logical principles. So that the painting should be executed in an appropriate place of the architecture of the building that arouses the admiration of the viewers. In general, each period has a common method and special style in creating works of art Which fits into a single principle and common perception of aesthetics. In particular, the works of the Qajar period are one of these outstanding samples. The Qajar and Zand periods can be considered as an important step in the transition from traditional Iranian painting to a new style and the emergence of an Iranian school with a combination of miniature paintings and the achievements of Western art. In terms of visual approaches, Qajar painting is based on depicting human figures and faces with extreme embellishments. Perhaps the root of these tendencies is towards the ancient greatness of Iran, the re-creation of the brilliant Iranian culture and history, and the introduction of power and glory of the Qajar dynasty. The Features of Qajar paintings are such adding some decorative elements to the figures, especially various jewels, and using patterns and motifs, using the Western style, the predominance of warm colors, performing landscapes, trees, and sky in the background. And also, a tendency to structural symmetry and the replacement of most figures in the middle of the painting, the limited use of light-shadow and exponential volume, soft and gentle shadows on faces and unibrows. During the Qajar period, paintings on plaster were used to beautify and decorate the inside and outside of houses, gardens and palaces, the entrance of baths, Zoorkhane and Saghakhane, masques, passages, and gates. Hence, they performed in large dimensions, unlike paintings in the books. Murals on plaster follow the tradition of miniatures and carpet weaving with the same curved arabesque motifs, flowers, and birds, horses, horse riding, hunting the predatory animals, combatting and banquets and most of the themes are taken from the stories of Shahnameh, the romantic poems, and the stories of the Prophets and Imams. accordingly, this painting follows its previous examples in form and content. In this painting, the colors are cheerful, lively and Ghalamgiri is free. Bathhouses have significant space for social and cultural issues in Iranian civilization. It has always been a place to perform many rituals and traditions, comfort, publish news, narrate national and mythological stories and folk tales. the theme of the paintings is taken from the literary and romantic stories and the real-life events of the people of Bazaar, and apparently, the stories are narrated for the common public. These concepts and customs in the form of paintings on the walls in some historical bathhouses still narrate these stories, which are part of the history of the ethnic identity of this land. The Safavid bathhouses such as Ganjalikhan in Kerman and Mahdi Gholi Beyk in Mashhad can be considered and compared due to Qajar murals painted on their walls. The aim of the present paper is the visual and thematic study of the murals in these two bathhouses. The data were gathered through the library and field-based photography. The findings depict that in murals of the two bathhouses, the painter deliberately has been illustrated mythical and imaginative scenes, literary and romantic stories, the real-life events of people, heroes, and also good and evil creatures for a higher and preferred purpose. In Ganjalikhan's bathhouse due to the horror created during the Qajar period, the paintings were more symbolic, although the painter cleverly depicted the heroic ritual among the people and their protest. In Mahdi Gholi Beyk's bathhouse, the subject or issues are illustrated more explicitly in which religious inscriptions, entry into the world of technology and representation of urban neighborhoods, and hesitation in accepting Western dressing have been shown. It can be said that the social situation in the bathhouse of Mashhad has been illustrated with more scenes.
    Keywords: Kerman, Mashhad, Ganjali Khan baths, Mehdi Gholibegh, Painting, subject matter, and social content
  • Ameneh Mafitabar * Pages 164-181
    Ferdowsi’s Shahnameh is not only the most famous Persian epic poem but also the most reproduced and illustrated work of Iranian literature. The Davari and the Emad ol-Kottab versions of the Shahnameh are two of the last handwritten versions from the Qajar era, dating back to the reign of the fourth and fifth Qajar rulers, namely Naser al-Din Shah and Mozaffar al-Din Shah, respectively. The Davari Shahnameh, kept in the Reza Abbasi Museum, is calligraphed by Mohammad Davari. Spanning 1,223 pages, it comes in four volumes and contains 68 illustrated scenes. The first illustration is signed by Davari and dated 1854, whereas the illustrations by Agha Lotf-Ali date from the later years of the book’s production, namely 1863 - 1864. Probably the last of Qajar-era handwritten and illustrated versions of the epic, the Emad ol-Kottab Shahnameh came roughly 35 years after the Davari version, during the reign of Mozaffar al-Din Shah. It was commissioned by Naqib ol-Mamalek and created in the capital Tehran in 1898. The version spans 64,000 verses in 1,280 pages and includes about 40 illustrated scenes. While nothing is known about the illustrator despite the book being more recent and a commissioned work, the calligraphy was done by Mirza Mohammad Hossein Seifi Qazvini, better known as Emad ol-Kottab, a renowned calligrapher of the era. The illustrations show stylistic influences from early-Qajar visual arts. After completion, the book was acquired in 1899 by Mirza Ali-Akbar Khan Nafisi, better known as Nazem al-Atebba, and transferred to the Golestan Palace Royal Library. However, it was forgotten due to not being registered in the library’s official list of manuscripts. This failure at registration led the Davari version to win the title of the last illustrated handwritten Shahnameh, influencing later historical studies. Although there are morality tales and love stories in the Shahnameh, the central theme in every version of the epic is the battles between legendary Persian heroes and foreign enemies, making battle scene illustrations one of the most frequent in the illustrated versions, including the Davari and the Emad ol-Kottab. Despite their marked stylistic differences, the illustrations from both books follow an old visual tradition in representing the bravery of legendary Iranian heroes. This study aims to analyze how the theme of warfare is represented in the Davari and the Emad ol-Ketab versions of the Shahnameh, by comparing the visual elements and structure of six illustrations from the books. Through this formalist comparison, the study shows how stylistically unique each version depicts a given battle scene while remaining faithful to the source text. The significance of the study is that while warfare is the principal theme in the Shahnameh, its artistic manifestations, especially in the form of miniature illustrations, have been studied less than its material elements, such as the weaponry used in the battles. Furthermore, the true value of the Emad ol-Kottab Shahnameh has long been overshadowed by the Davari version, which is often mistakenly regarded as the last Qajar handwritten Shahnameh; therefore, this study is an influential step towards a better examination and introduction of both books. The study’s approach is to compare their illustrations, as comparison of works of visual art can reveal their formal merits more accurately. The research question is: “How and based on what elements can we identify the themes and main characters in the battle scene illustrations from the Davari and the Emad ol-Kottab versions of the Shahnameh?” In terms of purpose, the research is developmental, and in terms of method, it is a comparative and historical study that analyzes a set of particular cases. The data was collected from existing text and images, and the statistical population consisted of the illustrated battle scenes from the two Shahnameh versions. Of these illustrations, three from each book were selected through stratified random sampling, and each artwork was paired with a compositionally similar one selected from the other book. The studied illustrations from the Davari Shahnameh are the work of Agha Lotf-Ali Suratgar Shirazi and are stylistically closer to those from the Emad ol-Kottab version. The artworks depict hand-to-hand combats, charging armies, and battlefield victories, making the studied set thematically diverse. In this qualitative study, the control variable was the representations of warfare, and the dependent variable was the artistic style and constituent formal elements (e.g. shapes, colors, proportions, and atmosphere) of those representations. The study found that the artworks from both books follow Qajar illustration conventions in terms of composition as well as drawing style of faces and some other elements; however, they deviate from those rules by not distinguishing the main characters by giving them distinct outfits or marking them with special colors. The actions and elements in the scenes, such as the clash and entanglement of armies, brandishing of swords, ready-to-release bows, and arrows, and even severed heads on the ground, create a generic picture of warfare. The selected illustrations from the Davari Shahnameh - titled “The Battle of Esfandiyar and Gorgsar”, “The Battle of Manuchehr and Tur,” and “The Siege of Castle Tayer by Shapur Zol’aktaf” - demonstrate the aforementioned qualities. The titular characters are not visually distinguished in any way: for instance, Manuchehr is depicted very much like the others, including the enemy soldiers and even his rival Tur; and Castle Tayer, placed in the background in the Shapur Zol’aktaf illustration, resembles many of the other castles in the Shahnameh, such as castles Ruyin and Bahman, and is only identifiable by the text included in the illustration. In some cases, inappropriate depiction of characters, such as Esfandiyar with a forked beard and Shapur as a just-turned-teenager boy, makes them even more difficult to recognize, insofar as the artist had to write their names in the illustration (as was common in the Qajar era) to aid their identification. In the Emad ol-Kottab Shahnameh, which features many stories later added to the original epic, the scenes of “The Battle of Rostam and the Turanians”, “The Campaign of the King of Kairouan,” and “The Army of Tus Moves along the Border of Turan-Zamin” are among those that depict warfare. The main characters in these illustrations are denied some of their visual features; for instance, Rostam is depicted without his characteristic forked beard, demon-head helmet, and tiger-skin war shirt, and Tus is not a middle-aged man. Moreover, the source text is only slightly helpful in identifying those characters, as it deviates from the original Shahnameh and contains additional material. Regardless of all these flaws, however, the illustrations are clear in their depiction of rival armies confronting each other. This is achieved in all six artworks by giving the soldiers appropriate uniforms, arranging them slantwise, having them clash on both sides of the page, and even making them entangled with each other. Accordingly, it can be argued that illustrations from both the Davari and the Emad ol-Kottab versions - or at least those that were explored in this study - prioritize general representation of warfare over distinguishing the main characters and depicting them as described in the source text. While they have clear stylistic differences, both series of illustrations depict battle scenes in almost the same fashion: They use the same shapes, forms, colors, proportions, and other formal elements for the soldiers of both sides in every scene, which makes the armies indistinguishable and even hinders the recognition of the main characters, namely the army leaders. For this reason, any given battle scene illustration from the books not only depicts its related part of the story but can also fit the description of many other Shahnameh battle scenes and represent the struggles to win those wars. In the studied scenes, a general depiction of warfare is preferred to subjectivization of the story, and the subject matter or the main characters cannot be discerned from the illustrations alone and require familiarity with the content of the source text.
    Keywords: Qajar, Persian Painting, Davari Shahnameh, Emad ol-Kottab Shahnameh, Epic Persian Painting
  • Abouzar Nasehi * Pages 182-198
    The present article sees part of its mission in introducing a branch of illustration that is known today as a scientific illustration because the coexistence and association of science and art have long been part of the characteristics of the progress of any civilization. The Safavid era, as one of the pioneers of Iranian-Islamic civilization, has undoubtedly taken valuable steps in the field of scientific illustration. The Al-Hashayesh_the indelible mark of Pedanius Dioscorides, a famous Greek philosopher_is the major source of Botany, and Zoology in Islam. Many Islamic scholars and scientists have used Al-Hashayesh as a reliable reference book in their works. This book has been in the Islamic civilization, translation, and transcription. The most important is the translation of the book Pedanius Dioscorides for M. Ben Mansour In the sixth century and the governor of Diyarbakir in West Iran. Many historians in the field of science, especially medicine of the Islamic era, believe that the version of Astan Quds is one of the most important manuscripts translated by Mehran Ibn Mansour in Islamic civilization. The author considers the Astan Quds version as a direct or indirect source of reproduction of a number of other versions of Al-Hashish in Iran. Although a number of pages, including the translation of the book, have been lost, good information has been obtained by examining the Astan Quds version and later versions, all of which have benefited from Mehran Ibn Mansour's translation. In the Illustrated version of Astan Quds, some images committed to the version of the source are copied unchanged (and possibly the lack of visual dominance over the animal and plant samples) and some others are drawn according to the visual tastes of the artist. The author of this comparative study has gained historical images in the description and analysis of the results. The version of Mashhad has been provided in the west of Iran i.e. the east of the Islamic world, but after a few centuries, it was brought to the east of Iran and kept in Mashhad. It is not known when the copy of Mashhad was brought to Mashhad and who was responsible for transferring it, but from historical evidence, it can be inferred that the copy was transferred from western Iran to Mashhad during the Safavid period. The Safavids paid attention to medicine and medical content. It is obvious that the transfer of copies such as Al-Hashish Disqorides to the capital or other centers of their rule is obvious. The Al-Hashayesh  Ben Mansour bin Mehran Mehran did the Arabic translation of the Syriac liturgical edition by Hunayn Ibn Ishaq (260-194 AD), which was originally by Pedanius Dioscorides the physician, botanist, and pharmacologist Greek on foods and health and especially simple drugs, mineral, animal and especially plant. In this paper, we try to introduce this version of the exquisite analyzing imagery from the perspective of science and art and its impact on subsequent editions of the special edition of the Safavid era i.e. Al-Hashayesh House, Al-Hashayesh Golestan Palace, and Al-Hashayesh of Petersburg. The most influential translation of Dioscorides' book in Iran is the Al-Hashish version of Astan Quds by Mehran Ibn Mansour, this translation is the source of reproduction of many Al-Hashish versions in Islamic civilization. It seems that all the manuscripts and illustrations of the Safavid era, the version of the Islamic Consultative Assembly, Golestan Palace, and St. Petersburg, were written and illustrated from the copy of Astan Quds. The symmetry along with the coherent structure of the drawings indicates the precise underlying geometry in the illustration of the marginal version. The composition of the works changes as a result of the change in the subject, scope, and structure of the painting, and the guidelines are often arranged in such a way that a monoclonal system, sometimes based on radial lines and rhombus shape, is displayed on the page as a single plan. Reproduction of the Majlis version was done in the 10th and 11th centuries, probably in the period of Shah Tahmasb I; the Golestan Palace version in the 11th century, the period of Shah Abbas I; and the St. Petersburg version in the late 11t century, the period of Shah Abbas II; It seems that the version of Astan Quds, as the oldest version of Mehran's translation, is the source of all the copies of the Safavid era. An unrestricted copy of the remaining pages of the Majlis version of the Astan Quds version confirms this claim. There are only 18 pages of the parliamentary version. Historical and typological studies along with formal similarities prove this hypothesis. The illustrator of the Majlis version considers his commitment to be an exact copy of the Astan Quds version and has taken a similar path to his predecessors; however, the skill in designing and using complex colors is one of the hallmarks of the Majlis al-Hashish version of the illustrator. Based on the documents and review of the images, the version of Golestan Palace has been written and illustrated from the version of Astan Quds. The author of the Al-Hashaish version has copied the text of the Astan Quds version directly. From the endowment letter of the Mashhad version, it is understood that the Mashhad version was transferred to the Safavid capital during the reign of Shah Tahmasb I and Shah Abbas Safavid dedicated it to the "Holy Astan of Razavi" in (1017 AH) and therefore noticed the reward of this endowment. Mohammad Baqir Al-Hafez, the scribe of the Golestan Palace version, has even been careful in transferring the blanks of the text of the Astan Quds version to the Golestan Palace version. The illustrator of the Golestan Palace version, while committing to the scientific text and illustrations of the Astan Quds version, in many cases has shown his creativity and skill in recreating the surrounding environment and has made small changes. Delicacy and diligence in designing and paying more attention to the parts mentioned in the scientific text, since it has used all visual facilities to attract the audience's attention, indicates the illustrator's familiarity with the text. Various compositions and proper arrangements, such as the acacia tree, have led to the production of lavish versions of al-Hashish in the Safavid era. The presence of Astan Quds’ copy when the copy of Golestan Palace was provided in Mashhad and also the fall of some pages of Astan-e-Quds copy along with its antiquity are other reasons for concluding that the source of reproduction of Golestan Palace copy is Astan-e-Quds’ copy. The St. Petersburg version was provided shortly after the Golestan Palace version. The method of execution and forms in this version bears a remarkable resemblance to the Isfahan School of Safavid Art. The artist of the St. Petersburg version, while being greatly influenced by the Astan Quds and Golestan Palace versions, does not show much devotion to the scientific text. Taking a different path from his predecessors, he mostly represents the human aesthetic taste of the Safavid era. The decorative look and uniform compositions show the obvious formal differences between the version of St. Petersburg and the version of Golestan Palace and indicate the difference in the principles of scientific illustration of the two schools of Isfahan and Mashhad in the Safavid era. In the end, based on Table 3, it can be concluded that the passage of time has caused obvious differences in the reproduction of the Safavid versions from the original versions. As illustrators have gradually made little changes to some of the examples, they have ultimately distanced themselves from the basic tenets of scientific illustration. However, the Majlis version (10th century) in the surviving examples bears the most formal resemblance to the Astan Quds version (6th and 7th centuries). These similarities are diminished in the version of Golestan Palace (11th  century) and finally reach their minimum in the version of St. Petersburg (12th century) and give way to decorations that have little to do with the scientific text.
    Keywords: Al-Hashayesh Astan Quds, Pedanius Dioscorides, scientific illustration, Safavid era