مجله رهپویه هنر
سال پنجم شماره 1 (پیاپی 14، بهار 1401)

The Battle of Khaybar is a recurring illustrated religious-historical narrative. This event is represented in different forms of myth, epic, and narrative, which included topics beyond its appearance, the cause of continuity, and life of ideological values, beliefs, and long-standing ethnic-religious feelings. In addition, there was the feeling of chivalry, heroism, and endless victory of the right against the void in the story. The artist of this art has recreated the story of the Battle of Khaybar by considering the trend of influence and spread of Shiite thought among Iranians, which occurred and manifested twice after mixing the ideology and method of Sufis and its related philosophy and mysticism. This article aimed to analyze the visual composition of the position of Imam Ali (PBUH) in the seven related books of the Battle of Khaybar, such as Majma al-tavarikhTavarikh, Khavaran Name, Asar al-Muzaffar, Rawżat aṣ-ṣafāʾ, Habib al-Siyar, and Qisas Al-Anbiya from the Timurid to Safavid era. Therefore, the related question of the research focused on the position of Imam Ali (PBUH) in the seven related books of the Battle of Khaybar, such as Majma al-Tavarikh, Khavaran Name, Asar al-Muzaffar, Rawżat aṣ-ṣafāʾ, Habib al-Siyar, and Qisas Al-Anbiya? This research was qualitative, which employed a descriptive-analytical method. The required data were collected by a library method, and the statistical population was selected using the purposive method, which was the seven related books of the Battle of Khaybar among illustrated books of Timurid, Turkmen, and Safavid periods. The findings revealed that objective and implicit arrangements in the related books, as well as their visual elements, narrative and mythological effects, were used in the visual representation of  the Battle of Khaybar narrative. The main reason for this representation could be the influence of different degrees of Shiite interests and thoughts. Each mentioned book depicted the inseparable connection with their time with a sincere expression combined with a display of the triumphant confrontation of the front of right against the void in a miraculous state of divine victory. In addition, the centrality of Imam Ali (PBUH), the unique hero of the battlefield was preserved in all cases. The placement of the character of Imam Ali (as) as the only hero of Khaybar could be followed in the seven books with a worthy image and gesture very similar to a strong warrior relying on a supernatural force. In all seven cases, the visual narrative focused on and stopped the moment when Imam Ali (PBUH) opened the door of Khaybar. This event is narrated as if the viewer remembers the extraterrestrial human glory at the peak after turning the gaze and reading the story of the Battle of Khaybar. The writer does not leave the audience after going through the turmoil and battlefield anxiety and make them assured and believed under the shelter of the unique power of the conqueror of Khaybar. With this regard, the devotion and love for Imam Ali(PBUH), are expressed with a realistic representation and sometimes with a symbolic expression by the ruler and artist.

Texts reading reveals their multiple meaning layers and informs audience from the connotation of the text. For this purpose, in the last hundred years, different text reading approaches have been developed; from formalist reading in early twentieth century to new historicism in its late years. The origin of most of these theories is verbal semiotic system, but art critics have used them as an approach to read visual texts. The main issue of the present article is to explain the implementation process of hypertextuality reading visual texts; a theory which has verbal origin and is used to read visual texts. To answer the question of how a visual text is read by hypertextuality, the logo of Islamic Republic of Iran Airline was chosen as study body and hypertextuality as reading approach. In this approach, by following the intertwined relations of text networks, the meanings of the text are revealed and different layers of implicit meanings are explained. Gerard Genette is from the generation of intertextual reformers; a theory previously proposed by Julia Kristeva. According to intertextuality there is no text without hypotext; so every text is in fact a combination of different texts. Genette theory in intertextuality is known as transtextuality. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality include a varieties types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. Intertextuality is as a relationship of copresence between two texts or among several texts. As said in this kind of text relationship, copresence is the main condition of intertextuality. It means in this text relationship some elements from text A will be in text B, but this copresence is not basic but partial. A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are Paratext. In this type of relationship, in fact, the paratexts contains the main text and help to produce new meaning in texts. For instance the title of a book is its paratext.  Metatextuality is the relationship most often labeled commentary. There is two types of metatextuality: to criticize and interpret. In first one the text is criticized but in second one the text only interpreted and will be explained as we see about holy texts. By Architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. Although architextuality itself is not a text, it contains many texts. For instance Dada is an architextuality that contains all art works which they are made in Dada style. The focus of the present article is on the fifth type of text relations was proposed by Genette. He calls it Hypertextuality. In this approach, the transcendence of the text is a derivation of hypotext. Genette in Palimpsests: Literature in Second Degree explains in detail about this type of relationship and its different types. His examples in this book are often selected from the written text while in this article it is explained using a text body. As usual theorists often propose the basic concepts of a theory, and it is the critics who must derive the implementation process of the theory from the basic concepts. In this paper, a six-step process for reading visual texts based on Genette hypertextuality is suggested as follows:- Investigating the hypertextual relations of the study body: At this stage, the hypertextual relationship of the study body is examined. If the hypertextuality relationship of the study bodies is confirmed, we will enter the next stage. - Study body analysis: At this stage, the study body is analysed into its constituent elements. -  Description of hypertextual relationships: In this step, according to Genette’s hypertextuality the relationships of study bodies are described. - Explain meaning significations: At this stage, the meaning significations of study body are explained by following intertextual and hypertextual relationships. - Technical tips: At this stage, regardless of the hypertextual theory and also based on the cognition that the hypertextual reading has provided to the critic, points should be made about the visual text. - Conclusion In this step, the contents of the previous steps are summarized with general statements. This article is descriptive-analytical in terms of method that its data were gathered by documentary method. The results of the article showed that hypertextuality is one of the practical approaches in reading visual texts and in this regard, a six-step process was presented.

The purpose of this study is to present various concepts from the views of some grotesque thinkers in the field of literature and also to reveal the visual views of some Renaissance painters of the fifteenth and sixteenth centuries AD.  The grotesque is an extraordinary style of decorative art left over from ancient Rome that has been revived and used extensively in the late fifteenth and early sixteenth centuries. The grotesque has appeared in the ancient mythology, culture and art of all nations. Grotesque in art and literature may refer to something that simultaneously evokes a strangely disturbing feeling as well as compassionate pity in the audience. In the genre of grotesque literature, concepts such as: horror, humor, satire, exaggeration, absurdity, distortion of reality and the like are seen in different layers. The characteristics defined for the grotesque are intertwined in some cases and may simultaneously have contradictory internal elements, for example: at the same time ridiculous and scary, real and imaginary. The most important feature of grotesque can also be expressed as follows: the simultaneous presence of laughter and something that is not compatible with laughter.The grotesque source in literature can be seen in the ability of man and the use of his talent and power of perception and imagination to find a unique and powerful charm in monsters and monsters. The psychological reasons for this tendency are not entirely clear, but the tendency itself has had a profound effect on different cultures, from the most primitive societies to the most complex cultures. No genre has matched the grotesque more than Gothic. Gothic style is often associated with grotesque, as both describe order in disorder. Gothic is sometimes so associated with the grotesque that it is sometimes confused. The use of the term “Grotesque”, which was extended to literature in the sixteenth century, and especially to caricature, therefore, the expansion of caricature brings another broad meaning to the grotesque, which is synonymous with bizarre, unnatural, ridiculous, funny. And it becomes a caricature. Grotesque spread to many parts of Europe with the help of gravure and its reproduction. The grotesque made its way into most of the arts and appeared on many decorative works, illustrations of manuscripts (even religious and sacred), plaster reliefs of palaces and churches, and more. In Roman ornaments, grotesques are the decorative arrangements of arabesques with intertwined garlands and small, extravagant shapes of humans and animals that are usually arranged delicately and symmetrically around a kind of architectural frame. Such designs were common in ancient Rome and were used as wall decorations, murals, floor mosaics, etc. The grotesque can be defined as skepticism between the concept of fear and comedy, which never fully adheres to one and does not really reject the other; moving away from the classical models of order, reason, harmony, balance and form increases the risk of entering the grotesque world. The grotesque is everywhere and can support almost any theory. Grotesque in Renaissance paintings often includes a combination of man with animals, plants, objects, elements of nature or other compounds. The term grotesque in the Renaissance not only includes wonderful and wonderful things, but also imagines that it creates a completely different world. A familiar world in which the realm of inanimate objects is not separated from animals, plants, animals, and humans, and the laws of statics, symmetry, and proportions are no longer valid. Leonardo da Vinci’s drawings of grotesque human figures, often referred to as the earliest forms of caricature, are in fact more an in-depth study of human and grotesque physiognomy than the expression of an art form. Cartoon or caricature portrait was not known as a form of art in classical or medieval times. Artists were very familiar with the art of humor at the time: comics, satires, and grotesque art. The grotesque found its way into most of the arts and appeared on many decorative works, illustrations of manuscripts (even religious and sacred), plaster reliefs of palaces and churches, and more. Among the artists who contributed to the expansion of the grotesque was Rosso Fiorentino, the Florentine Mannerist painters, one of the main founders of the Fontainebleau School. He and his students and assistants enriched the term grotesque culture by combining them with the decorative form of geometric clasps, depicting leather geometric clasps in plaster or wooden molds (which are an important element in grotesque representations). Beginning in the 16th century, some artists began to combine grotesque decorative elements in their contemporary work, including: Filipino Lippi (1457-1504, Florentine painter), Luca Signorelli (Italian painter 1441-1523), etc. The grotesques were understood as a kind of artistic display based on the creative power of decoration with their monsters and strange eclectic forms. Grotesque designs could expand on the surfaces. This research has been done in a descriptive and somewhat analytical way.

Parviz Tanavoli is one of the most prominent Iranian sculptor artists and one of the founders of the Saqqakhaneh movement. He is the creator of many works of art inside and outside Iran, especially in the field of sculpture, which the study of these works reveals his preoccupation with traditional Iran. This study intends to provide an interdisciplinary reading of Parviz Tanavoli’s volumes with the psychological approach of Charles Mauron and to identify the hidden and unstudied layers of his works and, more importantly, to recognize his “personal myth”. His works, as a leading and creative artist, should have been criticized psychologically. Psychocritique is based on the knowledge of psychology and the basic principles of this knowledge and among the various streams of psychology, it is the most follower of Freudianism. Accordingly, it emphasizes on individual and personal unconscious pronouns. One of the most important figures of psychological criticism is Charles Mauron, who, as one of the founders of psychocritique criticism, identifies and introduces four stages for the study of art and literary works. The first step is to identify imaginary image networks: by collecting and studying all of the works of an artist, the formal networks of that artist are identified. At this stage, the critic seeks to identify the common elements of an artist’s works and extract their repetitive forms into research. The second step is to identify dramatic situations: networks of imaginary images lead the critic to some still images in the artist’s work. Images that manifest themselves in different forms and in different texts. The third step is to identify the author’s “personal myth”: by putting together these still images, the face of a large, hidden image that sometimes manifests itself is formed, which is the artist’s “personal myth.” In order to determine the personal mythology of each artist, one must refer to the mythology of the artist’s own culture, and from the set of myths in each artist’s culture, it is merely one of his personal mythology. The last step is to assess the authenticity of the “personal myth” with the study of the artist’s biography: Finally, to be more confident about the result of the criticism, the results obtained from the previous stages are matched with the artist’s biography. Mauron means more of his professional life than the artist’s life. My subscription chapter is social and I am creative and I am unaware that any artist in a professional life can be scouted, not in his personal life. With this approach in this paper, the question is, what effect does the artist’s mentality have on the dominant choice and content of his works? Is the artist directed towards his inner and unconscious consciousness with personal awareness? To answer these questions, the first part of the article first examines Charles Mauron’s psychometric approach and the four stages of his theory that lead to the discovery of the artist’s personal myth. In the second part of the article, using Mauron’s four steps, Tanavoli sculptures are reviewed step by step in order to achieve his personal myth. The present study is an interdisciplinary study and has used the “case study” method to analyze and understand the data. Case study is one of the most common qualitative research methods and has been conducted using documentary and library studies. Since the works of Tanavoli are very numerous and scattered in museums and public and private collections; Therefore, the authors’ priority has been to select works from books written by the artist himself. However, according to the theoretical framework of the research, all the works of the artist should be studied; But this was practically not possible due to the myriad and scattered statistical population of Tanavoli works. On the other hand, according to the second step of theoretical foundations, the critic seeks to find common metaphors of the artist’s works, so the authors have chosen repetitive themes and elements from among the diverse and numerous works of the artist; After collecting and filing the information, they organized the data to answer the research question. In addition to retrieving Tanavoli’s personal myth, this reading reveals the possibility of better understanding the works and the artist’s hidden view of the world around him and the unconscious pronoun affecting the creation of his works, an unconscious that indicates the artist’s belonging and inner searches to the indigenous and national roots, as well as the depth of the artist’s inner conversation with himself.

The verbal or written explanation of a picture is called Ekphrasis. Ekphrasis is also imagining with words and text.  In other words, all poems, stories and interpretive articles that deal in different methods with artwork like architecture, graphics, sculpture and photography are Ekphrasis. Ekphrasis as a way for describing and interpreting artwork, could be the start of identifying and expressing a painting board, metal structure recreation in field of music and cinema.  Accompaniment of writing and other art genres is a matter that although has roots in the past but has been a center of attention and thinking in recent years. Ekphrasic texts have had a significant role in artistic revolutions. Through Ekphrasis, one can look at visual works from a different point of view and understand the truth of the work. Additionally, if an artwork gets lost, people can remember the lost work of art through an Ekphrasis text and recreate it. Awareness of the mechanism of efrasis can justify artists ‘efforts to describe their own or others’ artistic creations. Sometimes an artist working in two fields of art uses the power of a work of art in one area to interpret a work of art in another, and vice versa. This two-way relationship can be observed and identified in the works of some of the poets or painters of the world and Iran. Examination of poetry and painting by the poet The painter or poet-painter shows that the themes and concepts mentioned in the poem have a tangible and notable value in the painting and the poetry of these artists as an ecstatic text explains and explains their painting. One of these artists is Mahmoud Khan Malek al-Shoara, (poet laureate)one of the artists of the Qajar period who has been prominent in several artistic fields. His name has been mentioned in many literary memoirs and along with a poet, his mastery in painting has also been mentioned.He has created works in both poetry and painting. He is known and remembered as one of the most important painters of Qajar era. In addition to painting, he was one of the most significant individuals of poetry in his own time. Common contents in Mahmoud Khan Saba’s poetry and painting were of Ekphrasis expressions; And this article seeks to review it and in the end, answer the question of how Ekphrasis appears to be mental or real in this artist’s works. Some of the studies related to this matter are as follows: “Blind Butterfly and Absolute Sighted” (2018); Deals with the 4 major territories of Ekphrasis: Describing people, describing occurrences, Describing times and place. They added that Ekphrasis included describing tools as well as describing the way every one of them was built and used.  “Arjmandi” (2015) has shown interest in bonding of literature with painting and in his thesis with the title, “ Painting with literature:  Ekphrasis and visual culture in my red name”, he deals with “my red name”, a novel from Orhan Pamuk, Turkish writer and has reviewed it from Ekphrasic aspect. Azhand (2010) has focused not only on “Colligation and modernity” in Mahmoud Khan Saba’s works, but also his poetry and painting of this artist in Qajar era. But he does not deal with this subject in his research. As mentioned in the previous topics, the existing contents deal with what Ekphrasis is, case studying Ekphrasis in a novel, and also investigating Mahmoud Khan Saba ‘s works without any reference to Ecfrasis.  In writers’ opinions, this research in its context opens another doorway to Mahmoud Khan Saba ‘s works.   This article is from the class of qualitative approach of cultural studies, the results of which have been obtained in an analytical and descriptive way with examples of written and visual evidence. Libraries are the main sources of this research and it is derived from public and scientific databases. In a number of artists’ works, who have dealt with both painting and poetry, there is some form of coordination and accompaniment in expressing the texture of the two genres.  This phenomenon could help us understand artworks or in some cases, recreate, rehabilitate and restore them. Accordingly, what has been seen in Mahmoud Khan Saba ‘s poem, usage of Ekphrasis could help us understand and identify the paintings of this Qajar artist. As we saw, Mahmoud Khan was both a poet and a painter; This colligation and coordination was not accidental and Ekphrasis has shown itself in two real and mental forms.  Real Ekphrasis is in two forms in Mahmoud Khan’s poem: Sometimes his paintings are artistic and coordinated with painted pictures take pictures and sometimes this poem serves as a report to explain an architectural building, like Sultanabad mansion or a garden. Real Ekphrasis exists in both forms. Because the poem has targeted a reality. An object that is displayed either in painting or in architecture. In the second case, without seeing, its architectural work is drawn and visualized in the mind through reading the poem.

This study examined the iconography of the  “vagirei” carpet pattern in the Rustam Khan Zand painting, which is an original visual document from the Zand period in Iran (1163–1209 AH  /  1751–1794 AD) as it is a court painting and signed by its painter. This allows studying all of the elements of the miniature in the light of the common patterns of its historical period. The main questions of this study were posed as follows: Could the patterns on the carpet be studied contextually? How could iconographic study lead to the analysis of the carpet pattern in the painting? It seems that in addition to discovering the analysis of one of the common carpet patterns of the Zand era, the iconography of its pattern can reveal the intellectual concepts and patterns of the Zand period. The hypothesis was that the painter of the miniature has painted everything that was in the surroundings realistically. However, on the presumption that Rustam Khan may have exerted his personal taste, the question arises whether selecting some of the visual elements such as the motifs in the patterns of the carpet and choosing arabesque vagirei pattern were rooted in the prince’s taste or to what degree they have been pictured in the painter’s mind? The painter of the work is Muhammad Sadiq and carpets with arabesque frame pattern can be found in his other works. The artistic virtuosity of the painter and the painting tradition of the time had more influence compared with the Zand prince’s exertion of personal taste. This qualitative study was descriptive-analytical and the data were collected by library research with indexing and recording observations. Moreover, the analysis was based on iconography theories. The results of the study showed that arabesque vagirei frame was one of the common carpet patterns in the Zand period in Iran given the subject of the miniature and Muhammad Sadiq’s signature. Despite the dominance of an exemplary atmosphere of Persian art in the painting, each one of the visual elements follows uniform practice and the tradition of Archaism can be perceived. The selection of this type of carpet was influenced by the content and is unified with the overall form of the miniature.The analyzes are also based on the iconographic theory of Ervin Panofsky. The carpet has two inner and outer edges. The inner edge consists of Islamic twist and the outer edge is one of the most common margins of Zand era carpet, the edge of the entrance. The search for the role of interventions in other works of the Zandieh period showed its widespread use. For example, in the brick decorations of Karim Khani citadel and limestone of Vakil bath, the role of intervention is also seen. Finally, recognizing Islamic contagions as one of the recurring flaws in Zandieh era rugs is important and indicates that contagious rugs, like other visual elements, have been the image of the prosperous designs of Zandieh era.Despite the reputation of Iranian carpets, little scientific research has been done in the field of weaving and many questions remain unanswered. In some periods the problem becomes more complicated with the lack of historical sources. Zandieh carpet is an example of such a claim. The problem is so complicated that many years ago it was believed that there was no carpet from the Zandi period. The paintings solve the problem to some extent and the design of the carpets in the paintings as visual sources helps to recognize the acceptable and common designs of that period. Carpet designs and designs, despite repetition in each period of evolution, have had an innovative and unique style. The article seeks to answer the question of how the study of iconography, how to analyze the design of the carpet in the image? It seems that in addition to analyzing one of the common designs of Zandieh carpets, the iconography of the mentioned carpet design shows the concepts and thought patterns of Zandieh period. The hypothesis is that the painter depicted everything that actually existed around him in the painting in question; But on the other hand, assuming the possibility of applying Rostamkhan’s taste, the question arises that in choosing some visual elements such as carpet designs in the image and choosing the design of Islamic contagious designs arising from the prince’s taste or how much is imagined in the painter’s mind? The painter is Agha Sadegh II, and in his other works, carpets with Islamic frames can be seen. The artistic taste of the painter and the tradition of embossing the time have been more influential than the tastes of Prince Zandi. Due to the qualitative approach of the research, the research method is descriptive and analytical and information is collected using library resources. Analyzes have also been performed based on the iconographic approach. The result of the research showed that due to the subject of Aqasadegh’s drawing and signature, the Islamic frame was a catchy one of the conventional designs of Zandieh period carpets. Despite the dominance of the exemplary atmosphere of Iranian art on the painting, each of the visual elements has a unity of procedure and the tradition of archeology is understandable. The choice of the type of carpet is also influenced by the content and has unity with the general form of the image.

Acquiring identity and getting rid of its crisis has always been an important issue for human societies. Man is human because he is an identity-making being, therefore, social identity is one of the main modern concerns of urban man. Since “identity” is a set of attributes that distinguish an individual or a community from other individuals and societies; Urban graphics, according to these criteria, become personalized and independent. In the meantime, the similarity of individuals to each other for the acquisition of collective identity and the difference between the individual and others for their distinction for personal identity is a contradiction that always challenges urban graphic designers. Therefore, the purpose of this study is to investigate the two components of similarity and difference and their function in urban graphic design and find new ways to identify urban places. The results of the above research show that the components of similarity and difference in urban graphics are able to extend the dialectical model of identity to something beyond mere sociability. In this regard, identification in urban graphics lies in the difference that individuals have in individual lives, and to some extent they are made of similarities in their collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences. The present research has been done with a qualitative method and library studies, and after obtaining the initial data, the data have been analyzed using the content analysis method. The city is a dynamic and extensive social complex in which three levels of movement, mechanical, biological and social are intertwined and associated with various types of sub-complexes and sub-complexes. Obviously, urban identity is a collective identity that becomes meaningful by objectively crystallizing in the physics and content of the city and leads citizens to become citizens by creating an association of public memories in citizens and belonging to them. Therefore, although the identity of the city is itself a consequence of the culture of its citizens, but it affects the process of citizenship and can lead to the development of criteria related to participation and judgment of observers and residents. In the field of urban identity studies, urban graphics is a complex and multidimensional concept that is currently used by experts and practitioners to express the desired desires and aspirations for a good and ideal city. In this study, researchers intend to examine identity in urban graphics in both individual and social contexts, and among these, the main focus is on addressing the two components of similarity and difference in identity. Therefore, the present study was conducted to investigate the significance of similarities and differences in identity expression and its effectiveness in urban graphics. The results of the present study allow us to examine individual and collective dialectics among the citizens of an urban society and emphasize the critical role of urban graphics in determining the identity of citizens. These results are:-Urban graphics are a great way to think about how the city can help people identify and turn an external definition into an internal definition of similarities and differences, and can transform the dialectical model of identity. Expand to something beyond mere sociability. In this regard, the determination of urban identity lies in the difference that individuals have in individual lives and to some extent are made of collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences.  -Ethnicity, gender, history and lineage, religion, occupation and class, place of residence, etc. are all characteristics that are intertwined in a contemporary city, and this pluralism is an increasing need for a common denominator. It reflects a group and a group by observing the similarities and differences of individuals, and therefore this interaction must be created in the right way. These conversations between citizens and urban graphic elements transcend the boundaries between the individual, the group, and the city, creating an umbrella of solidarity and cohesion under which all individuals can take refuge. - The importance of urban graphics and human identity on the one hand and the importance of discussing identity crisis in the present age due to globalization and unwarranted dominance of technology and especially the virtual world in the age of communication on the other hand, is one of the most important reasons This is the problem. - Since the impact of the environment on humans and vice versa has been fully proven, and even in a dimension beyond the impact of the environment, we can refer to the direct relationship between environmental identity on humans and vice versa, as well as environmental identity crisis on humans and vice versa. Identity in urban graphics and its management is mandatory. - In addition to the effects mentioned above, the presence of human beings in the environment and urban spaces is an undeniable and even mandatory presence, and therefore these effects are completely involuntary and it seems that by controlling and managing the conditions of the spaces, the type of effect and The relationship between man and space must be controlled.