پژوهشنامه گرافیک و نقاشی
پیاپی 11 (پاییز و زمستان 1402)

The Reading of Picture "Saving Yusef from the Well” Based on the Approach of Hypertextuality The most important materials for studying literary theories and approaches are religious, mythological, epic, and lyrical stories depicted in the painting, which simultaneously has two visual and written systems. Also, knowing and investigating the types of intertextual relationships in works of art, especially paintings, requires the study of trans-textual types, especially the multi-textual approach, which has more affinity and relevance in analysing and decoding artistic text. This research studies Nejat-e Yusuf-e Nabi az Chah from the illustrated version of Haft Ourang-e Ebrahim Mirza with the approach of hyper-textuality which is one of the five kinds of trans-textuality. Its purpose is to analyse the interaction and connection between the literary text (poetry) and the image, as well as to study the visual characteristics of these texts. The main question is what are the visual and structural characteristics and content of the painting and other hypertexts, and how was the artist influenced by the text of the poem? Hypertextuality is one of the types of Gérard Genette's theory of transtextuality, which examines the relationship between two texts, one of which is derived from the other. "Any relationship that causes a link between a text (B) and a pre-text (A), as long as this relationship is not of an interpretative type” (Genette, 1982, 5). Also, Genette considers three main conditions for hypertextuality: textuality of the subject, having two or more texts, having a certain relationship between pre-text and hypertext (Namvar Motlagh, 2011, 141). The basis of this approach is based on "adaptation" and includes two types of identity (imitation) and transformation. In the first case, the change is not the goal, but in the second case, this change is necessary. "In the Identity, the goal is not to create change, and of course, the amount of change will not be significant either; because the goal is to highlight and be specific about the pre-text of the work. But in Transformation, the conscious change is to emphasize hypertextuality, and conscious change is done with the intention of transformation" (Namvar Motlagh, 2006, 10-11). This change includes increasing, decreasing, and displacement, which includes other elements. "Transformation and change of the hyper-textuality compared to the pre-text can be subjective, formal and thematic" (Hakim & Namvar Motlagh, 2017, 18). Hypertextuality is based on adaption, in other words, in hypertextuality, the effect of one text on another text is examined, not its presence. Of course, there is an impact in every presence and there is presence in every impact, but in hypertextuality, a broader and deeper impact is considered (Azar, 2015: 24). In hypertextuality "Identity or imitation, it is important to preserve the original version without any change or transformation. In this case, the artist or author tries to create his work by imitating and copying another work; However, no imitation can be imagined without partial transformation (Kangarani, 2011, 320). The main pre-text in this research is The Haft Awrang by Jami. Maulana Nur -ud-Din Abd-ur-Rahman, known as Jami and the last Persian poet, is one of the most prominent mystics of Iran in the Timurid era (ninth century A.H.). Among his important works are seven Masnavis or Haft Awrang, written in imitation of Nizami’s Khamsa. "Three Masnavis out of Haft Awrang are allegorical romances, the names of the main characters of these poems are Yusuf and Zuleikha, Salaman and Absal, Layla and Majnun, and the other three Masnavis contain informative speeches" (Shru Simpson, 2002, 14). In composing his works, Jami used pre-texts and previous sources in literature and religious sources and books such as the Quran, Torah, and the Bible. He was a follower of Naghshbandiye religion in mystical thought. The Masnavi of Yusuf and Zuleikha "is based on the Quranic verses of Surah Yusuf, and of course, traces of non-Islamic sources from the Talmud and other literature can be seen in it. Layla and Majnun were adapted from Layla and Majnun by Nizami and Majnun and Layla by Amir Khosrau Dehlavi and Salaman adapted from one of the two commentaries written by Khajeh Nasiruddin Tousi on Avicenna's Esharat and Tuhfa-al-Ahrar was written in the style of Makhzan-al-Asrar Nizami. (Khadivar & Sharifi, 2009, 81-80). Also, the Masnavi of Selsele-al-Zahb is adapted from the Masnavi of Rumi, the Tazkare-al-Awliya of Attar, and Nafahat-al-Ouns and the Chahar-Maghale of Aruzi Samarghandi. The Sabha-al-Abrar is adapted from the book of Tawasin by Mansour Hallaj, and the Tohfa-al-Ahrar is adapted from Kelileh and Demneh Nasrollah Monshi and the Kheradnameh from the Iskandarname Nezami. In addition, Mantehgh-al-Tayr Attar is also one of the other pre-texts of this painting. Haft Awrang was illustrated in the painting school of Mashhad during the reign of Sultan Ebrahim Mirza. What is known as the Mashhad School of Painting is the royal workshop and library of the Safavid artist Prince Sultan Ebrahim Mirza, the son of Bahram Mirza, the nephew and son-in-law of Shah Tahmasp Safavid, where valuable works such as Jami’s Haft Awrang were written and illustrated. "During his reign in Mashhad, the Safavid prince, like his uncle Shah Tahmasp, had a library with many artists under his supervision, and Moheb-Ali, as a librarian or library supervisor, helped the prince in preparing Haft Awrang" (ibid., 17-18). This system's technical and artistic features, such as the originality and quality of the assemblies, show the highest standards of Safavid era painting, which can be under the influence of the Tabriz school. This work's general characteristics and content, which are kept in the Freer Art Gallery of Washington, can be seen in Tables 1 and 2. Four of the six paintings of this poem have been illustrated by Mozafarali and Sheikh Mohammad (Nayebpour & Esfandiari, 2016, 1). These seven Masnavis "have 304 leaves of cream-coloured paper and margins with golden gilding, with 28 illustrated frames and 9 gildings in the beginning and end of each Masnavi" (Simpson, 1997, 339). Paintings regularly mix familiar visual elements with new and creative ones, while some common features can show the artist's creativity. The creation of scenes can be considered a reflection of the alignment of the images with the text.Its style is in harmony with the taste of the patron, Ibrahim Sultan. Also, a large part of the space of the paintings is dedicated to landscapes with very complex details. One of the Haft Awrang scenes is a picture of Prophet Yusuf's rescue from the well by caravans. Considering the important place of the story of Yusuf and Zuleikha in the Quran and the title of Ahsan al-Qasas (the best story), this story was very important for Jami in such a way that he dedicated one of the seven Masnavis to this story and its two main actors. In this symbolic and simultaneous (multidimensional) space, based on the aesthetic system resulting from his desired rules, the painter has depicted eight narratives on different levels, each of which contains a specific and independent event without any logical connection to others. But all of these scenes show the relaxation of the caravan, such as slaughtering sheep, drawing water from the well, baking bread, gathering firewood, etc. "These levels create a moving space that cannot be seen objectively, but the audience creates it with the help of their visual participation" (Shaygan, 2013: 83). In this painting, we are faced with a crowded, compact, and dense space and a scattered arrangement, and the variety of narratives and the crowding of human figures in it are remarkable. The main part of the current research is the image of Yusuf's rescue from the well in Haft Awrang Ebrahim's manuscript, first, its visual and verbal systems and then other hyper-texts, including the four rug images, will be studied. This research, based on the hypertextuality approach to reading and analyzing a picture from the Haft Awrang illustrated by Ebrahim Mirza with the theme "Rescuing Yusuf from the well", as the main picture and text along with other hypertexts that include four paintings from different schools and three pictorial rugs with the mentioned subject will be discussed. The chosen picture is from Yusuf and Zuleikha's love poem and one of the seven Masnavis of Haft Awrang by Jami, a poet of the Timurid period, which was illustrated by painters like Sheikh Mohammad, Mozafarali, Mirza Ali and Agha Mirak. The Masnavi of Yusuf and Zuleikha has six paintings and the painter is Mozafarali.

A huge part of Iran’s epic literature originates from fairy tales and folk tales. One of the research indicators related to these stories is mythological studies. In other words, a myth is a story within the framework of mythology, that is, a system and a coherent collection of old inherited stories that were once seen by a group of real people. Stories based on the intentions and actions of supernatural beings explained why things are the way they are and why things happen the way they do. On the other hand, the reflection of mythology in ancient Iranian epic stories such as the Shahnameh and the transmission of its themes is the basis for the connection of graphic novels with narratives of the valuable heritage of the past. One of these narratives is Rustam’s Seven Labours in Shahnameh, the events of this journey can be analysed from the point of view of mythology with the archetypal components of Campbell’s Hero's Journey (departure, visit and return). From Joseph Campbell’s point of view, the discovered and understood archetypes are actually those that have evoked mythological, inspirational and ritual images throughout human history and culture. But they should not be confused with the personal symbolic figures that appear in the nightmares and agitations of the anxious person. Based on this, Campbell researched and researched the hero and finally created the result of his work in a book titled "The Hero with a Thousand Faces". According to him, all texts and mythologies of the world's heroism have a single narrative structure, and he has considered a core that includes the three parts of departure, appreciation and return, for all texts and mythologies of the world's heroism. Therefore, from Campbell’s point of view, a hero is someone who masters his personal or native characteristics and transcends them to reach a useful and usually human form. Therefore, the steps of Campbell’s hero's journey are as follows: departure, indicates a campaign to find a person or a charm or a charm that after its acquisition and return, fertility is restored to a barren land. The destruction of this land is a reflection of the illness and incapacity of its leader. In order to save his country, get his beautiful and favourite lady and prove his identity in order to establish his rightful status, the protagonist must do some extraordinary actions. Honour, usually means to enter life and is used to describe a teenager who reaches the stage of maturity and maturity. Such a person faces many problems and responsibilities in the process of growth. Awakening, awareness and more knowledge about the world and the people who live in it, usually forms the culmination of this archetypal situation. On his return, after finding the charm, the hero returns to his land to cure the drought. For each of these three stages, Campbell has stated other stages as its subset, which include the first stage: departure or separation including invitation to the adventure and rejection of the invitation, unseen assistance, crossing the first threshold, the belly of the whale. Next stage: honour ritual including the road of tests, meeting with the goddess, the woman in the role of temptress, reconciliation with the father, turning into god and the final blessing. The final stage: return including refusal to return, magical flight, saving hand from outside, crossing the threshold of return, master of two worlds, free and loose in life. Campbell calls this repetitive structure a journey. In this regard, in this article, the authors, with the aim of reading the images drawn in Rostam's Seven Labours graphic novel with the approach of joseph Campbell’s hero's journey, answer the question whether the images drawn in this graphic novel have the capacity to accept the model of joseph Campbell’s hero's journey? Regarding the research hypothesis, it can be said that it seems that the pictures of "Rustam’s Seven Labours", while following the illustrator's taste in using realistic expressions with exaggeration (in some pictures), and showing details to influence the audience's understanding of the story, with the archetypal image components of Campbell’s hero's journey it is adaptable, and in other words, you can observe these patterns in the form of images in aforementioned graphic novel. The importance and necessity of the research, the analysis of the integrated and sequential structure of the narrative, and the analysis of the related images with the desired approach for a better understanding of the audience of the hero's journey model, which has led the writers to this task. Therefore, in the present study, in addition to the research concepts and literature about the graphic novel, myth, single myth from Campbell’s point of view, the reading of the graphic novel "Rostam’s  Seven Labours" based on Campbell’s hero's journey archetype has been discussed. Also, the present article has been compiled using a descriptive-analytical method on the images of Rostam's readers by collecting materials in the form of literature review and analysing them. Regarding the statistical population of the research, among 150 examples (illustrations of Rostam's Seven Labours), 56 examples of images were selected and analysed based on Campbell’s hero's journey model. This picture book in three volumes narrated and illustrated by Mustafa Hosseini was published by Khorasan Cultural and Artistic Institute in 2014. This collection fully narrates Rostam’s Seven Labours from the beginning and with eloquent and heart-warming prose makes teenagers interested in the Shahnameh and native stories of Iran. The basis for selecting the samples among the many images was having the most readings (images) with the components of Campbell’s hero's journey model. In addition to this, the visual qualities used and the creativity of the illustrator in drawing images for a better understanding of the audience from the studied approach are other reasons for choosing the desired images and also not choosing other images, due to their similarity with each other and preventing repetition of content in the process. Regarding the analysis method of the upcoming research, in addition to identifying the diversity of images in the drawing method, paying attention to the concepts and content of images as constructive and structural patterns in Campbell’s approach is of main importance. Also, the findings of the research show that the analysis of the story of Rostam’s Seven Labours, following the criticism of Campbell’s archetype and the analysis of the images of this graphic novel, shows that the mentioned myth has the main stages proposed by Campbell (departure, honour and return) and the subset of these three main stages which it includes sub-steps and it is mentioned in the text of the article, it is fully compliant. In picture one in the text of the article, which is the reason for the beginning of Rostam's journey, the graphic novel is seen with a view of Mazandaran, and the narration of the story continues with a sequence of images of the attack of kykavus' army on divan until, in a surprise attack, Kaykavus and his troops are attacked by demons. Imprisoned and makes Kaykavus blind. The picture shows the fear of the field by showing details of this confrontation and the face of the demon. In the second picture, the conditions of the prisoner corps are depicted in a barren atmosphere and with contrasting colours of black and light. In picture three, Kaykavus informs Zal of his predicament through a courier named Pashtun. Also, in images four and five, Zal chooses his son Rostam for this important task, which also shows the interior of the palace and the conversation between Zal and Rostam. His picture shows equipment donated by father to son. From Campbell’s point of view, this sign contains the unconscious contents of a person. In the honour stage, the hero enters the test roads, which includes all the seven labours of Rostam from images seven to fourteen. In the stage of Rostam’s return and the rescue of the king of Iran in the fifteenth image, the thread of the narrative of Kaykavus and Rostam is tied together. In the windows drawn in the picture, it is mentioned that Kaykavus regains his sight and the army of demons is disintegrated by the fighting of Rostam. In this way, Rostam continues the journey as a supporter. In a summary, this research shows that in the illustrator's graphic novel, the events of the story are displayed with precise details and strong imagery. In fact, the accurate drawing of the events and the coordination of the image with the text and the general atmosphere of the story has caused the pattern of Campbell’s hero's journey to find a meaningful connection with the story in terms of imagery, for the audience to understand the main and secondary stages of Campbell. Therefore, it can be concluded that the graphic or illustrated novel can follow the text or the story and its strength with the general perspective images or with the dramatic details and especially by completing some items in the windows with writing, a suitable way to convey concepts and here the myth of the hero's journey is from Campbell’s point of view.

Coffee house painting is one of the few remaining folk arts in Iran, the origin of which is the national and religious attitudes of the people in the Qajar era, and imagination forms the basis of the images of the paintings, and national and religious myths are also the basis of the content of these paintings. Transferring the concepts of these narratives to the audience is on the shoulders of the warriors of these paintings; warriors who, like the myth, evoke the concept of epic and heroic acts; a great effort to the extent of sacrificing their own life to achieve great and ideal goals. Such a character, in the opinion of mythologists such as Gilbert Doran, represents the symbols of human endurance, who stand against death and mortality with all their material and spiritual powers. Analysing the content of the warrior characters of Ali Akbar Sadeghi's paintings, to find their differences with the warriors of the religious coffee house paintings, based on the opinions of Gilbert Duran and contrary to their formal similarities, is the aim of this research. Also, the causes of these differences in Sadeghi's paintings are analysed and investigated.Referring to the origin of human imagination, Gilbert Duran proves that the products of imagination have an inherent meaning that determines our representation of the surrounding world. According to him, the core of human thinking is formed from imagination. Gilbert Doran's method of understanding the imagination of an author is based on recovering the imaginary poles and finding the relationship between these poles. He also classifies them at the end. Gilbert Duran categorises all images and divides this category into daily and nightly systems. The daily system itself is classified into two groups of symbols that contrast the images: the images of the first group that spread the meaning of the great fear of time. The images of the second group wish to win and overcome the anxiety of time ascension and immortality. Human thoughts in this structure are the same as primitive human thoughts. Based on this thinking, man divides the world into two poles, good and bad.The images of this system are divided into two opposing groups: the first group is images of time and shows the dominance of darkness over light. The symbols of this category try to show the concepts of decay and anxiety by depicting death and darkness. In general, these are images with a negative meaning. These images express the fear of animals, darkness, and falling. The second category of images of the daily system are symbols of separation, illumination, and ascension. In this system, images with a positive meaning are contrasted with negative images. In the nightly system, instead of the images representing confrontation and conflict, the images soften the worry and fear of time. In other words, in the night system, negative images are displayed gently.The method of this descriptive research was content analysis with a comparative approach.Based on the available documents, the peak period of the coffee house painting style can be considered to be the same time as Iran's constitutional movement, in the late Qajar period and the early Pahlavi period. Coffee house painting reached its peak of prosperity with artists such as Hossein Qollar Agassi and Mohammad Modbar and had an impact on contemporary art as well. These artists trained students such as Fathullah Qollar, Hossein Hamedani, Hassan Ismailzadeh (Chalipa), and Abbas Bloukifar, who continued in their footsteps. The painting of a coffee house reflects national hopes and interests, religious beliefs, and the spirit of the special culture of the middle layers of the urban society. The stories of Ferdowsi's Shahnameh and Nizami’s Khamsa, the events of Karbala, Quranic stories, and folk tales are the main themes of this type of painting. The painter painted these themes according to the description he heard from the narrators and religious speakers, and as they existed in the minds of the city's people. The coffee house painter's effort in representing the scene and portraying the external and internal characteristics of the characters is always influenced by his favouring the forces of good. With this moral and ideological motive and according to the narrative logic of his works, he observed certain conventions in the way of drawing bodies and clothes, colour selection, and composition.In the meantime, some artists in the past years have also tried to imitate coffee house paintings, one of the obvious examples of which is Ali Akbar Sadeghi. This contemporary painter has widely used the formal elements of coffee house paintings to draw the warrior characters of his paintings, as acknowledged by many researchers and critics of visual arts. For this reason, there are obvious similarities between his paintings and the religious paintings of the coffee house in terms of form. At the same time, it seems that the actions of warrior characters in Ali Akbar Sadeghi's paintings have deep differences from the actions and epic and religious content of warriors in coffee house paintings.Sadeghi officially started his artistic activity in 1948 by entering the Faculty of Fine Arts of Tehran University. He also learned the technique of watercolor painting under the supervision of Avak Hayraptian. Since 1959, he achieved a special style of stained glass art in which Iranian identity was visible. One of the most obvious characteristics of Sadeghi is his multifaceted capabilities in creating works of art in such a way his artistic career includes making films, animations, advertising graphics, and illustrating children's books. He has won many awards from domestic and foreign festivals in each department. Now, the main focus of his work in the last two decades has been solely on painting. In examining his works, the influence of Iranian painting and coffee house painting is evident.In the present research, the warrior characters in Sadeghi's paintings in comparison with religious coffee house paintings, based on the theory of daily and nightly systems of Gilbert Doran, are analysed. In Gilbert Doran's daily system, the symbols with negative valuation are presented in three categories: 1. Symbols of the animal form 2. Symbols of the dark form 3. Symbols of the fallen form. In opposition to negative symbols, there were symbols with positive values, which are as follows: 1. Separating symbols 2. Illumination symbols 3. Ascension symbols. Also, in the nightly system, we put the harmonising symbols and the symbols that create interaction between two positive and negative poles as the basis of content analysis and the adaptation of warlike characters and their warlike actions in the selected works.According to the comparative tables presented in the research, it is clear that the actions of the warriors in Sadeghi's paintings had significant differences from the actions of the warriors in the paintings of the coffee house. When we use Gilbert Duran's theory of daily and nightly systems as the basis for analysing the content of these characters and their actions, the absence of opposition between the two forces of good and evil can be seen in Sadeghi's works. This unipolarity and bewilderment of the warriors, who are mostly drawn in a fallen state and with dark symbols, has been in deep conflict with Gilbert Duran's mythological approach. An approach that considered the conflict between the two poles of good and evil as the result of human mental confrontation with death and fear. The warriors of Sadeghi's paintings are, more than anything else, tired and as if they are only fighting with themselves, no glimmer of hope can be seen in their behavior, look, action, and even their fighting atmosphere. Only in some of his works, warriors are accompanied by one or more stylized symbols. According to Doran's approach in his daily and nightly systems, the warriors of the coffee house religious paintings are classified into two separate poles and forces; Positive forces and negative forces, just the opposite of what happens in Sadeghi's paintings. Each of these two forces of good and evil also pursue a goal for themselves. According to Gilbert Doran, the force of evil is the force of the passage of time and human fear of death. The forces of good represent humans' confrontation with this fear that the dark-hearted warriors and the good-thinking and benevolent warriors become examples of these mental concepts of man and artist.The findings of this research show that in religious coffee house paintings, the warriors of both good and evil forces were present and the painter took the side of the good forces and in this way, showed the national and religious epics of a nation, but on the other hand, Ali Akbar Sadeghi's warrior-oriented paintings are completely unipolar and evaluated negatively. This is the reason why Ali Akbar Sadeghi's style can be considered to be inclined to the nightly System. A collection in which there is no mention of heroic and epic confrontation.Based on this, in the coffee house religious paintings, warriors of both good and evil forces were present, and the painter sided with the good forces, in this way, he showed the religious epics of a nation. But in contrast and a comparative evaluation, Ali Akbar Sadeghi's paintings are completely unipolar and all warriors are members of the same group. Also, according to the categories of Gilber Doran's daily and nightly systems, in most of Sadeghi's paintings, warriors represent only negative forces, and some of them have stylized symbols that can implicitly represent Gilbert Doran's nightly system. Therefore, it is possible to consider Sadeghi's style in depicting warriors, which was derived from surrealist fantasy, only to a small extent inclined to the imagination-oriented ideas of Gilbert Duran, and it can be evaluated completely in contrast with the religious paintings of coffee houses.

Along with various heroic epics that were inspired by Ferdowsi’s masterpiece or created independently of it, religious epics deserve attention. Therefore, not enough attention has been paid to them and many of them have remained in the shadows. The main reasons can be found in these points: 1) Many of them have crude texts and were written by religious and pious people, but without familiarity with the literary codes of Persian poetry. 2) Unlike royal and heroic epics, their artists often lacked wealthy and powerful patrons. 3) Dreaming in the religious epic is not very acceptable and desirable and contradicts the official religious history. Therefore, this point can find angry critics in the circle of knowledgeable believers and jurists. Some religious epic works were lucky enough to attract talented artists to decorate them as art. Khavaran Nameh was in this issue and was painted many times, only one of which is kept in the collection of Golestan Palace Museum under number 7075.The depiction of religious subjects in the history of Iranian art has a long history and can be traced back to the first manifestations of civilization in the corners of Iranian civilization. Artists paid attention to the fact that art can be a good vehicle for conveying religious messages and influencing the audience. An image can communicate with its audience beyond the text and establish a connection between the viewer and their characters and feelings. In the visual works of the 4th Youth Visual Arts Festival, which was held for 16 days (November 14-30) in 1387 Shamsi, religious themes related to the literary version of Khavaran Nameh, which is derived from the wisdom of the First Shiite Imam, can be seen. The current research has explored the works of two collections (painting and illustration) and is based on the opinion that between the art of contemporary illustration and the above-mentioned paintings, there is a delicate thread that brings both of them in line with a single line of Iranian painting art (in its comprehensive sense). It should be said that the artists of today and yesterday, although they are different in their styles, ways, beliefs and raw materials from their previous counterparts, but they are still on the same approach and routine and principles can be found that it can be said from their perspective: the door still turns on the same hinge!The purpose of this research is to evaluate the influence of contemporary illustrations from the illustrated version of Khavaran Nameh of Golestan Palace and the style and experiences used in it; The authors try to answer the following questions.1- What elements did the illustrator borrow from Khavaran Nameh paintings and with what techniques did he display them in his work?2- What are the similarities and differences between these works of contemporary visual arts and Shiraz Turkmen style painting with the same subject?Based on this, images in two different artistic spectrums are analyzed in order to present concepts, so that by addressing the characteristics of the images according to the cultural values of both societies, the background and cultural context can be made evident in the works with visual characteristics.This research has a fundamental approach in terms of goal and is descriptive-analytical in nature. The method of collecting documentary information and the tool of collecting information is the note sheet. The authors have purposefully selected eight images with a single theme among the paintings of the Golestan Palace Museum's Khavaran Nameh edition numbered 7075, eight paintings, and from the works of contemporary visual arts taken from the collection of illustrations of the 4th Visual Arts Festival in November 2017, and they are trying to use a comparative approach and qualitative method to analyse the intended works. The current research process is based on three stages of description, interpretation and explanation.In the description stage, the available information about the picture or image is expressed; in such a way that the reader can imagine the work through the text. Information that can answer questions about the subject and guide us to the qualities that tell the meaning of the work. At this stage, it is not possible to prevent the entry of judgment into aesthetic perception, or at least it is not possible to overcome the qualitative analysis that occurs in the first encounter with the work. In the second stage, which is called interpretation, we identify the components of the work, examine the structural, thematic, and content characteristics, and finally, the relationships between the elements. The last part, which is called explanation, is the result of the previous two stages. The dignity and elegance of the work of art in comparison with similar works, the ability and art of the artist in conveying his subject and purpose, or his power in stimulating the mind of the audience is recognized without personal judgment, at this stage. Explanation, as a foundation in the social axis, deals with the contextual reproduction of a text by changing the contextual knowledge.The results show that Khavaran Nameh is the result of an artistic trend among writers and religious artists who thought that the right of speech and art about the Islamic epic had not been fulfilled; and of course, this example is not the only one of its kind. In the paintings of Khavaran Nameh of Golestan Palace, realism exists to a great extent and the obvious difference between Hazrat and others is in his aura. In other cases, his ornate clothes, the meaningful colour of his clothes, avoiding war defense tools (which is a sign of caution), ignoring the spectators and the war situation of the battlefield, submission, humility and seriousness can be seen in most of the pictures.The focus of the artist on the body of the Holy Prophet, in some cases, has caused the artist to neglect other visual elements in terms of artistic principles and even physical laws. Archetypes and indebtedness of text and art to the external environment are seen a lot, and both in the text itself (Ibn Hussam's poems) and in the art itself (Farhad's paintings), it is clear that the goal is to attract the general audience and express its existence and value against non-religious rivals; and of course, from this point of view, their abilities should not be underestimated. If we look at it from this point of view that Khavaran Nameh paintings were in line with the competition and show with the epic paintings of their time, we can count the contemporary depiction of those scenes in the same direction and say that the artists wanted to reach the level of Khavaran Nameh art from another angle. The important point is that the contemporary artists, almost certainly, have considered these pictures themselves or at least similar pictures of these subjects in some other illustrated versions. This point has caused artists to avoid innovation and dreaming to a great extent, and putting in a new design and breaking the ceiling of the sky. However, innovation, multiple techniques and matching elements with contemporary intellectual trends, are abundant in them. This means that the illustrations in question, like the pictures of Khavaran Nameh, are a result of their time. Another change in them is the emphasis on the compassionate face of the Islamic hero, instead of his bold and warlike face, following a trend in the art of iconography, which has started since the Qajar era. The same point can be seen in the adherence of the paintings to the principles of iconography (especially in the form of halos and the silence and stillness of the icon).

Problem Statement:

 The information taken from the letter of an architect Pope in the 16th century A.D. shows that " The statue Laocoon and his sons was found on 14th of January 1506 in a subterranean chamber with an adorned floor and coloured walls in a vineyard in the vicinity of the church of San Pietro in Vincoli, north-east of the Colosseum". Finding such a great work of magnificent classical art prompted thinkers such as Lessing to critique Laocoon's aesthetics.Gotthold Ephraim Lessing (22 January 1729 – 15 February 1781) was a German writer, philosopher, dramatist, publicist and art critic, and an outstanding representative of the Enlightenment era. His plays and theoretical writings substantially influenced the development of German literature. Gotthold Ephraim Lessing first published Laokoon, oder über die Grenzen der Mahlerey und Poesie (Laocoon, or on the Limits of Painting and Poetry) in 1766. Over the last 250 years, Lessing's essay has exerted an incalculable influence on western critical thinking. Not only has it directed the history of post-Enlightenment aesthetics, it has also shaped the very practices of 'poetry' and 'painting' in a myriad of different ways. Lessing is a key conduit between the transformation into German Romanticism transition from the destroyed enlightenment French. "He is the first literary figure of greatness that Germany has brought into existence in the New Age". Lessing wrote Laocoon; An Essay on the Limits of Painting and Poetry into the field of aesthetic philosophy in 1766 with remarks illustrative of various points in the history of ancient art in twenty-nine chapters.To begin pondering the Limits of Painting and Poetry, Lessing began with a reflection on Winkelmann's views on harmony and expression in the visual arts. Lessing established his discussion based on criticizing the Winkelmann's book named “Thoughts on the Imitation of Greek Works in Painting and Sculpture” about the progression of art on the development of Greek art. “Lessing dismantles Horace’s famous claim “ut pictura poesis” (as is painting, so is poetry), arguing that these media are inherently different, because while poetry unfolds in time, painting exists in space. He refers to the media as “two equitable and friendly neighbors”. Lessing contends that an artwork, in order to be successful, needs to adhere to the specific stylistic properties of its own medium, and the transmission or representation's possible meanings cannot be separated from its medium. From Lessing's point of view, “a visual work of art and a literary work originates in different spatial and temporal conditions, Lessing argued, serving thereby to liberate art from the tradition of ut pictura poesis”. “Beyond Laocoon, he examined and categorized the arts (The distinction between the temporal and spatial arts) and the specific function of each”. In his text, the human body has a key place in the aesthetic understanding.This article combines different perspectives from interdisciplinary subject areas (including the history of evolutionary thoughts, aesthetics, comparative studies, and the history of art) and examines Laocoon, using critical angles. It can be considered that this research is a short interpretation of ancient art and poetry from Lessing's view, which leads to the recognition of the cultural contexts of the eighteenth century and the credibility of Laocoon's observations in the field of aesthetics. Thus, this study shows how Laocoon used Greek and Roman models to draw the appropriate spatial and temporal " limitations" (what Lessing calls "poetry" and "painting"). Also, it explains how Lessing's article has been rooted in Enlightenment theories of art, historical perception, and interpretation, as well as in emerging ideas such as affects. In this research, it has been tried to first study the collection of Laocoon sculptures and then to analyse the Lessing's text about Laocoon.This article has a qualitative and analytical nature and the method of collecting information is based on library studies, documents and valid electronic databases. What is important in these discussions is this paper is issues related to the embodied mind, affects and aesthetics, based on critical approaches and opinions in this regard, this issue has been addressed from a new perspective.Research question: Lessing's research on the representation or transfer of the meaning of the statue of Laocoon is raised as a question, how does the embodied mind react to the image of the human body?

In terms of its nature, this article is of the qualitative content analysis type, and its method of collecting information is based on library studies, documents, and reliable electronic databases, prepared, organized, and edited, and based on a logical method, Laocoon Lessing's research is done from the perspective of affects, is what is important in these topics is the investigation of topics related to the embodied mind, affects and aesthetics, which, based on critical approaches and opinions, tries to address this topic from an innovative angle.

Going back to Roman history and studying the views of thinkers on the Laocoon and his sons sculpture collection, this article shows that Lessing is the creator of a whole new tradition of modern aesthetics. Lessing argues that sensory perception can be analyzed in terms of physical impact based on particular attention to the viewer. In his view, what we reflect in it is ourselves. Thus, the imitated body is not a product of art, but a set of effects produced through the eye and the sensitivity of the viewer. The emergence of the aesthetic subject occurs not through the work of art but through the process of imitation. Therefore, the existence of aesthetics is tied to the observations of the human body and is involved in emotions and influences. The experience that is considered is not beauty, but the physical presence of the effect that is visualized in front of the individual's eyes. Therefore, the best way to create the effect of the aesthetic experience of the viewer of the work of art. Therefore, in answer to the main question of the research, it can be concluded that what can be deduced from Laocoon Lessing's text is a subject that is reflected in itself through the emotions that are created in another body and, above all, it is a subject that through works of art can create a state about how to experience pain, sorrow, joy, kindness and other effects on the human body, i.e., the viewer.

Design studies began in the 1920s and have been carried out with different approaches. At first, according to the scientific paradigm that dominated the early decades, researchers' perception of design was "design as science", but it gradually changed with the use of newer interdisciplinary approaches. One of the new interdisciplinary approaches that have helped design studies is the approach related to cognitive sciences. Since design is a cognitive activity, studies that emphasize the cognitive aspects of design and study the mental functions related to design are called cognitive design. However, most of the studies that have been conducted in the field of cognitive design have studied the performance of people (designers) either individually or in groups as an individual activity. As a result, the use of protocol analysis methods, black box and methods related to neurological studies and physiological functions have only been aimed at studying the individual characteristics of designers' design thinking. But if we want to study design activities on the scale of a collective culture, what approach and method would be appropriate for the study? Since such an approach was not found in studies related to cognitive design, this research, with the aim of introducing a new approach to cognitive design studies, answers the question that what approach and method can be appropriate in studies of design thinking as a cultural-cognitive activity?This research has studied the sources in detail with a qualitative approach to the descriptive method of content analysis. In the review of sources, first, a systematic report of the historical course of design methodology was presented, and then the shortcomings of cognitive design research methodology for studying design thinking at the scale of a culture were examined. After that, cognitive anthropology was analysed with the aim of investigating the possibility of using it for cognitive design studies and finding a new approach to study design thinking at the scale of a culture. Because this approach deals with the cognitive study of the culture of the people of a group or community. Since in cognitive design, the mental functions of designers are also studied, the cognitive anthropology approach is a suitable platform for searching in the field of choosing an operational theory and a suitable methodological framework in the desired field.Cognitive anthropologists believe that culture consists of logical rules that are based on theories in the mind. And basically, cognitive anthropology pays attention to the rules governing behaviour instead of emphasizing on behaviour. It was also said that the purpose of cognitive anthropology is to study and investigate cultural knowledge, that is, the acquired and shared knowledge that are used in the creation of various aspects of the material culture of a society, such as handicrafts, work tools, literature, and poetry, etc. So, the study of designers' design methods can be one of the appropriate topics for applying the cognitive anthropology approach. One of the important theories of cognitive anthropology is the theory of cultural models, which is obtained by examining the categorization method, conceptual designs and metaphors used by informants. In fact, through the study of cultural knowledge, which includes cultural knowledge and is formed in the process of interaction between the members of a cultural group, formatively, over time and space, it is possible to achieve the cultural models of that group.Therefore, because cultural models are common mental representations among the members of a culture, and the production and shaping of purposeful behaviours, the reading of intentions, attitudes, and social situations can be considered one of the functions of cultural models. Design thinking as a cultural mental function that leads to the production of works in the context of a specific culture can also be studied by cognitive anthropologists. Also, by extracting the cultural models of a cultural group, one can understand the design method of that group; because according to cognitive anthropologists, people with similar experiences have common schemas in their minds. In fact, according to the theoretical framework of this research, a subset of common cultural models, under the title of cognition, help designers to understand their professional environment. In addition, cultural models are internalised during the designers' collaborative and experiential processes and then become individual cultural schemas. Also, based on these schemas, designers use specific metaphors that can appear in their speech or creation.When a researcher seeks to study design thinking as a cultural-cognitive activity, regardless of whether the field of study is graphic design, industrial design, architectural design, etc., design thinking at the scale of a culture is dependent on the common lived experience of the designers of that culture. This common lived experience causes the formation of common cultural schemas in that cultural sphere. These shared schemas are also the rules that govern design behaviour and activities and appear in the form of cultural metaphors. In fact, to obtain cultural models of design thinking, the researcher should study designers and extract cultural metaphors used by them, which appear in the form of verbal and non-verbal metaphors in designed works, as well as in design-related activities and in their words. It is possible to find in different cultures, not only the authors of design books and theoreticians in this field, but also the designers who grow in the context of these trainings and their specific cultural environment, in addition to the universal features of design, many features of design and basically design thinking are influenced by culture. They understand themselves differently from other cultures; because design itself is an abstract concept and people use metaphors to understand abstract issues, also people in different cultures use different metaphors based on the dominant schemas in that culture.Also, in terms of methodology, it is necessary to collect ethnographic data at the beginning of cultural model research; because the ethnographic data is the primary information that shapes the research in the next stages; what strategy can be chosen to set up the interviews and laboratory assignments depends on the primary ethnographic research. In the second stage, it is suggested to acquire linguistic information. Conducting semi-structured interviews in relation to the domain of specific knowledge models under investigation is the second important step to obtain the cultural model(s) and describe and analyse them. Analyses are carried out on all three levels of linguistic structure, i.e., word, sentence, and discourse. The results of ethnographic analysis and linguistic analysis prepare the researcher for the design, preparation, and implementation of laboratory exercises. Controlled experiments that are used in the cognitive design study model, such as protocol analysis, cannot be used for research methods related to anthropological approaches. Rather, in these researches, according to the obtained linguistic information, the experiments are designed in a different way and also according to the existing conditions in a much more flexible way.According to the study conducted in this research, it can be concluded that the approach of cognitive anthropology and the theory of cultural models is suitable for studies of design thinking on the scale of a culture or group. In fact, it is not possible to use a predetermined and specific model and theory to study designers in different cultures. Rather, it is necessary for the theoretical model and approach to observe the native characteristics of that culture and emerge from within the culture. Cultural models allow the researcher to reveal the indigenous cultural features in design thinking as a collective knowledge through the discovery of conceptual metaphors used by the designer and, accordingly, the identification of schemas related to it. Also, to study designers in a specific culture in this way, the researcher must not only be familiar with the design discourse of that culture, but also the important sources that may have caused the formation of schemas in designers and come from the common lived experiences of the people of that culture. Also, considering that designers are influenced by the educational space and dominant design discourse in their culture, tracking metaphors in the visual culture and discourse of spaces and educational books will also help the researcher to achieve cultural models.

The storyboard is one of the most fascinating parts of animation. Storyboard artists are great designers who use their imagination and sense of direction to create the best scene for the viewers' eyes. These scenes should be attractive and exciting for the audience in every aspect, be it from the esthetic aspect or from the composition and characterization. The Toy Story 4 Animation is no exception in this regard. The storyboard of this animated film was created with storytelling, characterization and the hero's journey in mind so that he can incorporate them into his acting and show them according to the characters' traits and social status. One of the characters in the story, according to how he is placed in the hero's journey and turns from a negative character to a positive one and finally achieves redemption is Gabby Gabby the "antihero" (Mireshkari, 2018) character of the story, that the storyboards are designed according to who he is and the change in his personality.Problem Statement: In this article, an attempt is made to examine the way of designing to change the character of the antihero, considering the knowledge of the storyboard in the animated film Toy Story 4 and how the antihero character is formed.

A qualitative research was conducted in this article. The results were obtained by studying library sources, reading articles and authoritative journals, and investigating the animated sequences of Toy Story 4.

Storyboard is considered the most important and integral part of the production of any animation movie. In this article, we present the background to the discussion, taking into account the most important books and sources on the role of the storyboard in animation production. In the book "Storyboard" by Asghar Fahimifar and Seyed Javad Shabani (2006), an attempt was made to explain the important role and position of storyboard by collecting foreign sources and quotes from the greats film and animation. Also, in the book "Elements of attraction in animation cinema" (2009) by Mohammad Hadi Irandoost, an attempt was made to define the storyboard and offer solutions to make it more attractive. In the book "Ideas for Short Animation" (1390), Gary Schumer, Keith Alexander and Karen Sullivan discussed how to draw a storyboard and which rules are used and necessary. "The Art of Knowing People" is a book by Barbara Barron-Tieger and Paul DeTiger about the Myers-Briggs Personality Types or MBTI. The authors explain the true cause of people's behavior based on their personality. "Camera Movement in Relation to Narration in Animation: a study to extract practical patterns" (2013) is an article by Mohammad Reza Hasnaei and Fateme Maleki that examines camera angles and provides a sense of genre through camera movement, in addition to the use of exaggeration.In an article titled "Storyboard" (2009), Manijeh Hatmian writes a brief history of storyboards, the use of storyboards, it's creation and impact in business. Studying the background of the article on the nature and quality of visual story (storyboard), there are few articles or books that have analysed and explored the place of storyboard in changing the character and hero's journey in the story, body language and plot of the portrait in terms of changing the character and redemption. But the upcoming article follows this theme.Storyboard Review of Gabby Gabby; the Villain of Toy Story 4The opening sequence with Gabby Gabby is the one in which she meets Woody while sitting in a carriage and being looked at by one of his servant dolls in an antique store. The camera angle in this sequence is low, giving Gabby an advantage over Woody in terms of power. Gabby Gabby is in the centre of the frame and in focus. The light shines directly on her and his facial expression is very friendly. ConclusionStoryboard is one of the important visual stages and a basic guide for film production. Therefore, the filmmakers put all the scenes, the arrangement and the position of the characters, and the objects of the scene on the storyboard in the form of a picture, their road map, and imagine a unified visual narration of the entire film frame by frame. The director supervises the storyboard drawn by the designers from the script and after the approval of the producers, he enters the production stage. In addition to arranging the sequences, the storyboard pays attention to the placement of the objects and the arrangement of the characters concerning the subject and the background environment. The angle of the camera and the determination of the shot are carefully considered at this stage, all the sequences in the animation are first drawn in the storyboard, then they are entrusted to the hands of animators, artists and creators and background designers, etc., to make the work more realistic and with more details. Storyboard designers to depict it according to the subject and characters and draw it on paper depending on the character, social status, and timing of the film. This makes the scene look more realistic. The example that was examined in the upcoming article, the sequences of the Toy Story 4 animation are considered for the character of Gabby Gabby, or the protagonist of the story. And it pays more attention to him in terms of creating his character and changing his character compared to other characters. The camera angle for Gabby Gabby is adjusted to give him the upper hand and show the world from his point of view. Especially in the last scenes that lead to salvation. Redemption can be seen in his character and figure in terms of personality, and she approaches the type of typology of Myers Briggs in the character of Gabby Gabby, which according to this model is one of the goals of this supporting personality type, and finally achieves it.

Letters serve as symbols within both linguistic and visual sign systems, yet their visual characteristics often become overshadowed by their linguistic functions during the reading process. A key role of typography is to rejuvenate the visual essence of written text. Typography not only enhances the aesthetic appeal but also contributes to the interpretive understanding of the text. This study aims to categorise graphic techniques that forge a meaningful connection between the visual presentation of words and their linguistic meanings. Techniques such as estrangement and defamiliarization are of particular interest to formalist scholars. Typography naturally emphasises these techniques through its ability to highlight and make the familiar unfamiliar, thus a formalist perspective has been utilised to explore this topic. This paper investigates how prevalent graphic elements in typography can induce visual defamiliarization, employing the concept of "device" as defined by Shklovsky to denote methods of aesthetic creation within texts. Employing an analytical-descriptive methodology, this research focuses on picture books for specific age categories "A" and "B," selected intentionally. Consequently, books selected for analysis have titles on their covers or title pages that rely heavily on typographic design, either in Persian or other languages, from a collection of one hundred and ten titles for the specified age groups. From this, ninety-seven titles were chosen, and the typographic formalist techniques of eighteen titles are scrutinized within this paper. The study seeks to address two primary questions regarding the typography of children's book titles: 1) What formal devices are employed to generate calligram meanings within the text? 2) How are these formal devices further categorized?The motivation for this research stems from the observation that children have a stronger connection with visual language than with written language, and while the incorporation of visual elements in children's literature is widespread, there is still a notable deficiency in comprehensive research within this domain. The findings of this study indicate that the typography in children's literature can be dissected through an array of formal aspects. This document categorises these formal aspects of typography based on various criteria: the degree of defamiliarization, the functions of the paradigmatic and syntagmatic axes, the levels of intertextuality and independence, the density of visual spacing between characters, and the contextual relevance of letters. This classification aims to streamline the teaching of typography to students and assist researchers in the comparative art fields with their analysis of artistic works.Fundamentally, typography is predicated on the concept of defamiliarization. This research delineates three principal forms of defamiliarization encountered in the typographic titles of children's books: "local," "global gestalt," and "global distributive." a) Local defamiliarization entails the visual alteration of a specific part of the text, endowing it with an iconic function without altering all components of the text. b) Global gestalt defamiliarization converts the overall gestalt, or the entire typographic representation, into an iconic signifier, rather than merely a portion. For example, in "A Crow Like a Crow" (Khodaei, 2009), the full typographic depiction of the word "crow" visually represents a crow. Pic 1. A Crow Like a Crow (Khodaei, 2009) c) In global distributive defamiliarization, calligram elements are not confined to a specific location (such as a single letter or word); instead, they are dispersed across the entirety or most of the letters in the typographic composition. Another method for producing iconic representations of symbolic elements in language utilises both the paradigmatic and syntagmatic axes. For generating calligram significance, typography adopts three approaches involving these axes: substituting a paradigmatic iconic signifier for a symbolic one, replacing a paradigmatic symbolic signifier with an iconic one, and integrating a syntagmatic iconic signifier with a symbolic signifier.a) Replacing a symbolic signifier with a paradigmatic iconic signifier: According to Saussure, the paradigmatic relationship is characterized by the ability to interchange linguistic elements. For example, replacing the letter "O" in "love" with an "I" transforms the word into a new linguistic entity, "live." This principle of paradigmatic substitution is also applicable in typography through the exchange of linguistic-artistic elements. For instance, instead of the letter "O," which is a symbolic (linguistic) signifier, one can employ the image of a heart, which acts as an iconic (visual) signifier (pic 2). Consequently, this linguistic-artistic signifier assumes both iconic and linguistic roles. It visually represents the concept of the heart (as a symbol of love), while linguistically, it stands in for the letter "O." Pic 2. 1ove Can Come in Many Ways (Pierce, 2020) b) Replacing an iconic signifier with a paradigmatic symbolic signifier: In this instance, a sequence of letters replaces a portion of the illustration. Often in iconography, letters assume the role of the entire image. For example, the cover of Das ABC-Spielebuch (Berner, 2010) showcases a cat illustration, wherein its abdomen is ingeniously substituted with a series of alphabet letters (pic 3). Pic 3. Das ABC-Spielebuch (Berner, 2010) c) In typographies that utilise the syntagmatic axis, introducing an iconic signifier does not remove the symbolic signifier; rather, they both exist adjacent to each other, jointly conveying meaning.Regarding intertextuality, the calligrams of the typographic title are classified into three types: image-adjacent inadequacy, image-intertwined inadequacy, and self-sufficient calligrams.a) In image-adjacent calligrams, the image is affixed to the text.b) In image-intertwined calligrams, the typography integrates into a larger image and is interlaced throughout the image's structure.c) In self-sufficient calligrams, the calligram may be mono-media, meaning it exclusively employs the writing system without relying on visual media for its typography.Typographers occasionally craft calligrams by modifying the ratio of letter density to texture. This ratio of letter density to texture is categorised into three types: positive density dominance, negative density dominance, and non-dominance.a) Positive density dominance: The existence of textual content necessitates a backdrop or context. Adhering to the gestalt principle (the figure-ground perception), the dominance of positive space can be observed in two primary areas: within the text characters themselves and their surrounding background. This dominance of positive space within the characters serves to enhance the visibility of the typographic design. In (Karsten, 2019) AaaHHH, the positive density of the letters is achieved through a diverse and varied selection of fonts, thereby highlighting the typography. The book delves into environmental concerns, with a particular focus on the issue of noise pollution in urban settings. Consequently, the typographer has depicted the concept of sound pressure throughout the book by employing the density and variety of fonts for the letters A and H. Moreover, italicizing these letters symbolically represents the direction of the sound pressure (emanating outward from the book). Pic 4. AaaHHH (Karsten, 2019)  In instances where there is a dominance of positive density at the background level, the contrast created between a cluttered texture and a sparsely written phrase can result in the typographic expression becoming prominent.b) Negative Density Dominance: Negative space effectively emphasises typography across two dimensions: at the level of the letters (figure) and the background level (ground). The emphasis at the letter level is achieved by creating a sense of openness and increasing tracking (the overall spacing between letters). When negative density dominates the background, a sparse texture or a contrasting colour tone to the typographic phrase highlights the text.c) Non-dominance: In this context, neither positive nor negative spaces take precedence. This lack of dominance presents itself in two variations: bipolar absence and uniform absence. In the case of bipolar absence, the typographic phrase is divided into two parts. Each segment exhibits localized dominance of either positive or negative space; however, from a gestalt perspective, no dominance prevails. In "How Big Is the World?" (Teckentrup, 2012), the title spans two lines. "World" stands alone on the upper line, with the rest of the words positioned below. The expansive open space surrounding the single word "World" in the title's first line, juxtaposed with the dense arrangement of words in the second line, creates a bipolar density of space. The objective of this bipolar spatial configuration is to visually convey the attribute of "largeness" for the word "world." Pic 5. How Big Is the World? (Teckentrup, 2012) In the context of homogeneous non-dominance, there is a balance between positive and negative spaces around letters, visible in segments and throughout the text. This differs from bipolar non-dominance, where local dominance doesn't affect the overall composition. Homogeneous non-dominance lacks both local and global dominance. As per the figure-ground principle, written content can be both foreground and background. Typography may serve as a backdrop rather than just text, with legible or illegible textures. In "I am the Eighth of Those Seven" (Nazar Ahari, 2012), typography is crucial for texture and spatial dynamics. Children's book covers showcase graphic arts and typography, serving as marketing tools and artworks connecting readers to the narrative. This study suggests that innovative typography results from changing textual structures based on visual elements.

Zarih is a structure placed on the tombstone of prophets, imams, and imamzadehs to show respect for the buried holy figures and facilitate pilgrimage. From the time of the martyrdom of the imams until today, wooden and metal boxes have been placed on the graves of imams, but over time, these wooden structures became known as grave boxes, and metal and lattice structures were placed around these wooden boxes, which are now called zarih. These lattice structures were initially plain and devoid of inscriptions and decorations, but gradually evolved from simple metal lattices into enduring works of metalwork art. Imam Ali (Peace Be Upon Him) was martyred in the year 40 A.H. and was secretly buried according to his will. Some have stated that the current tomb of Imam Ali (PBUH) includes multiple arches and porticoes that belong to both ancient and modern structures, although they are similar in terms of period and style. Some believe that the older structure may be from the time of the first Safavid king (Shah Abbas the first), while the new structure may be attributed to Shah Safi, another Safavid king. The exact date of the first zarih placed on the blessed tomb of Imam Ali is unknown, but it is clear that it goes back to before the year (1073 A.H.). In the year (1211 A.H.), Sultan Mohammad Shah Qajar replaced the old zarih with a new one. After that, Abbas Qoli Khan donated a new zarih to the shrine of Imam Ali (PBUH) in 1262 A.H., on which verses of the Quran, the names of the imams, and Persian poetry were inscribed. The next zarih was made of silver, presented as a gift by Seyyed Mohammad Shirazi, and installed in 1361 A.H. The current zarih, one of the most magnificent Zarih structures, was gifted to the shrine by the leader of the Indian Bohra community, Seyyed Tahir Saifuddin. It took five years to construct this zarih. It is said that 100 kilograms of silver and 552 kilograms of gold were used in its construction.How is the structure and combination of decorations executed in this zarih? And what is the meaning and significance of the inscriptions from the perspective of Shia thought in the zarih?The research method used is descriptive-analytical, and the information is collected through literature review and field research. The history of zarih, the specifications of the current zarih of Imam Ali (PBUH), the decorations of the zarih of Imam Ali (PBUH), and the constituent elements of the zarih of Imam Ali (PBUH) are all examined.Finally, based on the studies and conducted investigations, it can be said that the zarih of Imam Ali (PBUH) structure has a general design that has evolved and become more intricate and aesthetically pleasing over the years. The zarih of Imam Ali (PBUH) is a rectangular cube. It is believed that until the Safavid period, zarih structures were without roofs and decorations, and a hanging cloth was placed on top of them. However, it is certain that since the Qajar era, zarih structures have been adorned with roofs and decorations such as metal pen carving, wood carving, and more. Therefore, the zarih of Imam Ali (PBUH) should be considered the focal point of the roof design from the perspective of height, which has been strengthened by adding upper vases in an Indian style. Among the religious themes used in the inscriptions of the zarih of Imam Ali (PBUH), the inclusion of his name alongside Allah and Prophet Muhammad (PBUH) as well as the names of the fourteen infallibles signifies not only the love and affection for this Imam but also directly reveals the inclination towards Shia ideology and devotion of some other certain beliefs. In fact, religious artists strive to reflect their thoughts and beliefs about Shia elements, their affinity for the Prophet's household (Peace Be Upon Them), and subjects such as Quranic verses, divine names, holy and prophetic traditions, Shia testimonies, and literary poems and verses describing and mourning the infallible Imams (PBUT) through their art on the zarih structures. The presence of these inscriptions on the zarih is not only for the sake of beauty but also allows the divine verses to manifest their meanings in the soul of the pilgrims, and the interpretations of the written chapters on the zarih convey their significance and the status of the Ahl al-Bayt (PBUT). In the zarih of Imam Ali (PBUH), complete chapters of Surahs such as Al-Insan, Ar-Rahman, Al-Ikhlas, Al-Fajr, Al-Hamd, Ad-Dhuha, Al-Ghashiyah, Al-Inshirah, and Al-Kawthar are inscribed, as well as a complete qasida by Ibn Abi al-Hadid and the names of the fourteen infallibles (PBUT) in two types of calligraphy, Thulth and Nastaliq, are written on the zarih. In the zarih of Imam Ali (PBUH), the three inscriptions of the second row (hadiths), third row (Quranic chapters), and fourth row (qasida and names of the fourteen infallibles) have the most prominent presence among the inscriptions, but the first row (Surah Ar-Rahman) has the least visibility due to its placement at the top of the zarih. In terms of colour harmony, calligraphy, and alloy, the first, second, and third rows of inscriptions are consistent with each other. Additionally, in the zarih of Imam Ali (PBUH), around the themes and inscriptions, the art of jewelry engraving in the heart of the metal has also been used.

The battle of the Qasim is a common issue among the Guilan holy shrine paintings, religious paintings, the coffee house paintings and the images of the lithographed books. In the following research with the emphasis on Genette's transtextuality theory, it has addressed the hypertextuality reading among the paintings of Qasim’s battles in Guilan holy shrine paintings, compared to the illustrations of Mirza Ali Qoli Khoei’s lithography, coffee house painting and reverse glass painting .In hypertextuality, the relationship of a text to its pre-written texts gets analysed. The main question of this research is; what effective pretextuality existed among Illustrations of Qasim's battle, the holy shrine paintings, the coffee house paintings and the Ali Qolii Khoei's illustrations? Also, what kind of hypertextuality changes exist among the Qajar religious paintings with the issue of the Qassim’s battle? The following research is done in descriptive-analytic methods and the method of collecting the content is library through taking notes and studying pictures. Data analysis also carried out qualitatively. In the following research, historical narratives along with the first available texts related to the Qasim's battle, as the first pretext, includes historical narratives and Hadiths to the seventh A.H. century and in the second pretext of the book, Rawdat al-shuhada as the veiled text in Guilan holy shrine paintings, the religious reverse glass paintings, coffee house paintings and Khoei's illustrations (illustrated lithographed books) are considered; later in text the adaptation and analysis of written symbolic system to the pictorial systems have been addressed, in the meantime it analyses the transtextuality relations in these paintings.According to the studies, religious reverse glass paintings are the oldest pictorial pretext among these kinds of pictorial arts.After that, the coffee house paintings and Guilan holy shrine paintings, respectively, are illustrated pretexts and Ali Qoli Khoei's illustrations. Therefore, the explicit intertextuality can be seen among the Qajar religious illustrations. The Qasim's battle with Azraq and his sons are one of the most common issues among religious paintings. As it appears, a homogeneity relation accompanied with simulated forgery and pastiche, simultaneously with the transtextuality relation in the change of visual permutation contents and forms, exist among the reverse glass paintings, coffee house paintings and Guilan holy shrine paintings.The visual symbols used in the Khoei's works are shaped, based on previous pictorial pretexts, but simultaneously changes in the combination, the type of written content selection, including increasing or reducing content or cutting text and in some cases, different Khoei's motivations have created a new sign system. Because in the lithographed version, text and image simultaneously have caught the audience’s eyes; there has been more references to written texts in Khoei's illustration than other pretexts. The way of communication in the hypertextuality in textual and pictorial system includes the use of patterns derived from the text of the Hadith and preaching in illustration of the main characters, especially the type of portraying and representing the hostile and innocent characters in a homogeneous way include imitation. Transtextuality between text and image in the pretext and hypertext includes sketch of motives and avolition and hetero motive. It can be said that based on importance and interest, he sometimes repeats, omits or imitates with a different motive or even changes it. The syntactic selection of the basic written text and its use in Khoei's works has similarities with the Guilan holy shrine paintings, whether from the aspect of the motivation or visual signs. As it appears, the extension of the elements in the background has expanded by the extension of its range that is related to the subject and reveals Khoei’s attention to the written pretext. Content wise, expansion in Khoei's illustrations has an increase compared to Guilan holy shrine paintings with the use of elements including human characters, elements used in the foreground and background, which that is further derived from written pretexts.Pastiche and forgery homogeneous relations can be seen between Qassim’s Images in the Khoei's illustrations and Guilan holy shrine paintings.The pastiche interpretations include small changes in hypertext based on the original text which only has a decorative aspect and with more emphasis on the original text. Also, forgery is a duplication and imitation of pretext which is the cause of the homogeneous relations between Khoei's illustrations and pretexts.Since the text and image in Khoei's works affects the audience, he tried to recreate the written pretext for the audience in constructing and polishing his works; and the text of lithographed illustrations in expressing details have expanded more compared to other Qajar religious illustrations. The reducing permutation of the element in the foreground of Khoei's illustrations has provided a reduction current compared to reverse glass paintings, Guilan holy shrine and coffee house paintings, in Khoei's illustrations, omitting the heads which have been cut and beheaded bodies in foreground has a subjective matter and indicates killing massacre in small scales. In fact, Khoei provided the condition to cut the text by conscious removal of mentioned events in written text and existing elements in pretexts: which has a more subjective matter. Finally, it is concluded that Khoei's illustrations are affected by the reverse glass paintings, the coffee house paintings and Guilan holy shrine paintings and in the meantime based on the suggested evidence, the most influential was Guilan holy shrine paintings. In both categories of these paintings, the presence of the written text of Rawdat Al-Shuhada is more tangible than other samples. Also, the type of characterisation, the figures’ body, the delineation, the compositions and the selection of the elements of the narrative in the samples from the Guilan holy shrine paintings have many similarities with Khoei's illustrations.

How to reflect the motifs of works left over from ancient Iran in the texture of contemporary Iranian painting according to Gérard Genettete's intertextuality approach is the main issue of this research. Gérard Genettete is one of the researchers who investigates any relationship between the text and other texts in a wider and more systematic way than Kristeva. Unlike Kristeva, he is also explicitly looking for relationships of influence and impressionability and puts any relationship that a text can have with other texts under the theory of transtextuality. Genette examines any relationship between texts, this examination includes all the details and dependents of the text. He studies the relationships of texts from the perspective of transtextuality in five subgroups, which include paratextuality, intertextuality, metatextuality, sertextuality, and hypertextuality. Gérard Genettete's theory of intertextuality as a subset of metatextuality; It is about the relationship of each text including artwork or other texts and its borrowing from previous texts and their reading. The influence of texts on each other has long been the concern of researchers in various fields, and sometimes the issue of plagiarism has also been raised, but in the present era, special attention is paid to the influence of texts on each other, and this acceptance of influence is not a reprehensible thing, but It is considered inevitable. In the current era, the text is neither a self-sufficient unit nor the result of the author's invention, but it has a plural nature that originates from other texts. So, with these words, in every text, traces of other texts can be observed and it can be accepted that every text is the passage of contemporary or previous texts, so paying attention to the intertextual nature of the texts and examining its predecessors can give us an accurate reading of the text. Genette used the term Kristeva to examine the impact relationships of texts. with the difference that Genette's intertextuality is more limited and practical than Kristeva's. He reduces intertextuality to the simultaneous presence of two or several texts and the actual presence of one text in another text. Genette's intertextuality is based on copresence; that is, if a part of a text appears in another text, either implicitly or in the form of a copy, it is considered intertextual. It has been said about several details that Genettete's typology of intertextuality is difficult because he never addressed it directly. In a work dedicated to intertextuality, Piquero has examined Genetteic intertextuality in four types, which include; Quoting, referring, stealing and hinting. Quotation is a perfect example of objective and obvious copresence of one text in another text. From Genette's point of view, the most explicit and literal form of intertextuality is quotation. That is, the text should appear in the second text exactly as it was in the first text. The second is referral. Citation often comes with documentation and means mentioning the sources that part of it is used in a work. In this type of intertextuality, a part of the pre-text is not present in the text, but sometimes this copresence is done by referring to the name of the work or its author. Plagiarism, which is the third type of intertextuality, is a less explicit and less formal form of intertextuality. In this type of intertextuality, a person tries to hide this copresence. Among the types of intertextualities that were expressed, hint has the least clarity in the copresence of texts. A hint is a relationship between two texts, one of which is obvious and the other is hidden. In most cases, an allusion is not a word but an image that refers one text to another. The purpose of this research is to pay attention to the capabilities of texture in the identity of contemporary Iranian painting. In this research, after introducing the concepts, the study of national and ancient textures and the presentation of statistical results have been done. The types of intertextuality are examined in them and the first text is also introduced. In this research, each and every painting has been carefully studied and their relationship with the previous paintings has been carefully examined. This research shows that artists are more inclined to prehistoric artworks in reflecting ancient motifs. The influence of Iranian painting from the contemporary art movements of the world has sometimes led to distance from Iranian culture. A part of identity building in contemporary Iranian painting is the responsibility of texture, which seems that artists have been oblivious to the capabilities of texture in reflecting national tradition and culture. The reflection of national and traditional culture in the texture of contemporary Iranian painting can play a significant role in enriching the works. The traces of the national and traditional art and culture of Iran in the texture of the paintings entered into the 8th painting biennial can be seen from three perspectives; Using the geometry of motifs and pillar design, using the texture of traditional arts in paintings and using ancient motifs in their texture production. Also, the multi-text analysis carried out in this article indicates that the texture in these works has been recreated by changing the pre-text. These changes and transformations, which indicate the metamorphosis of polytexts, are mostly based on their aesthetic and structural characteristics, which are related to all kinds of cultural, narrative, temporal, symbolic, environmental and Internal changes include deletion, addition and replacement and have led to maintaining the structure and creating changes in the texture of the polytext compared to the pre-text. In fact, the contemporary painters of Iran have achieved the creation of national and ancient textures by creating different types of distortions and changes, which, in addition to preserving the structure of the motifs, have changes in the style and type of execution compared to the original. This research inclines the view of artists to the national and ancient textures that have not been paid enough attention to, which determines the necessity of conducting the above research. The method of conducting this research is descriptive-analytical, the data collected through litreture review and the research analysis method is quantitative (with the help of Excel software) and qualitative. In the paintings of the 8th biennial of Iran, the pre-text of ancient motifs has been well used to create texture. The use of silk and Susa terracotta patterns, Parthian plasters, Sassanid period patterns and repetition of rhombic patterns, broken lines, circles, squares and triangles have created a powerful visual texture in the works. For example; In her work, Shahla Habibi used pre-texts from Susa pottery motifs in order to create texture, besides that, there is a great similarity between some of the overtext works and the pottery motifs of Persepolis. It should be noted that ancient motifs have special semantic characteristics. These features include different fields of vision and worldview. Considering that all the studied texts are related to a biennial and on the other hand, their pretexts are directly selected from Iranian culture, several points can be pointed out. First, due to the time gap of several centuries between pretext and hypertext texts, their influential relationship is longitudinal and temporal. Another point is that the cultural origin of multi-text and pre-text is the same. And another, based on the inherent nature of patterns, the rules of seeing the real world of patterns are different from physical quantities. Therefore, the multi-text works produced based on them will have an aesthetic system with the same principles and rules. Patterns do not have light by nature; therefore, their reflection through the repetition of motifs, as the visual texture of contemporary painting, has been successful. It shows the relationship of excitement and passion between them along with a little change and transformation. This means that the pre-text has undergone a transformation in the process of becoming a hyper-text, and therefore this relationship is of the type of tragonism. On the other hand, since multiple texts do not refer to only one pre-text, they do not have an exclusive pre-text; Except for a few works such as texture paintings by Shahla Habibi and Sima Shahmoradi, which are exclusive. In addition, the formal structure of polytexts is completely consistent with the pre-texts and has not had much effect on the process of becoming a polytext. By using national culture, textures have a good ability to create identity in contemporary Iranian painting. Due to being hidden in the visual memory, the national textures have caused the re-creation of the audience's collective memories, which leads to the painting effect becoming more tangible and creating a better interaction with the audience. One of the ways to create national textures is to use ancient motifs. This research dealt with the extent and manner of recreating ancient Iranian motifs in the texture of contemporary Iranian painting, relying on the theory of intertextuality and the hypertextual approach of Gérard Genettete.

The artistic achievement of the Qajar period is observable most of all in the colourful tile paintings of this period. The desire of the Qajar kings for luxury and displaying it with the glitter of colour and light on the tile background is supposedly a reason for the prosperity of the art of tiling in the Qajar period. The use of pictorial tiles in this period also flourished in the houses of nobles besides decorating palaces, assembly halls for ceremonies, and pavilions with tiles. One of its reasons is the expansion of the art of painting on tiles during the reign of Nasir al-Din Shah and its widespread popularity among the public. Shiraz besides Tehran was also one of the centres of production and use of various types of tiles in this period, whose effects have remained in the historical texture of this city. The diversity of these images reflects people's attitude towards various historical, cultural, and religious narratives, and reveals the changes in the depiction of tiles and their perception of meaning. The authors’ search in a number of these places, i.e., the houses of Atrvash, Hasani Ardakani, Saadat, Yazdian, Ziaian, Manteghinejad, Dokhanchi, Khalili, Qalamfarsa, Tavakoli and Salehi, shows a wide range of visual themes of this collection. Some of the mentioned houses have decorated tiles on the pediments. A common theme has been used in the pediments of some of these houses, among which are Saadat, Hasani Ardakani, Atrvash, and Yazdian houses. Coronation representation is the common theme of these houses, which reveals changes in the representation in comparison with Ardeshir's historical coronation painting of Ahura Mazda.Diadem is one of the most familiar subjects in the ancient bas-reliefs of Iran. The coronation scenes of Sassanid kings are among these: Ardashir I, Shapur I, Bahram I, Ardashir II, and Khosrow II. It seems that the prevailing political situation at the time of each of the Sassanid kings was an influencing factor in the production of such works, and the political institution mixed with religion to instil its superiority, maintain its centrality, and prevent chaos. Theocracy was among the warlike religious principles that have been associated with princes for a long time and were supposedly among the necessities of the royal position. This coronation motif inspired by the Sassanid period becomes also popular in the Qajar period, and the coronation of Ardashir I is more similar to the sample under study in this research in the structure and formal elements. Changes occur in the reproduction of this coronation scheme in the houses of the Qajar period. The manifestations of this transformation are more obvious in the pediment of the Hasani Ardakani house, like the removal or change of some visual components and elements.As for the position of pediment in the houses, which is the most important part of the facade of the house, the prevalence of such a motif and its changes can be an expression of the era’s prevailing thought. This research explains the coronation representation in the houses’ pediments and the effect of popular discourse and ideology in the Qajar period on the motif of pediment. Therefore, the present research answers the following questions: Why is the motif of the coronation of Ardashir I on the pediments of many houses and what effect did the changes in the image of the Hasani Ardakani house have on the perception of meaning? The work has been seen as a social production to reach an appropriate answer and get the hidden ideology in the mentioned tiling. Thus, we pay attention to the pictorial features of the painting, explain the hidden layers of the text structure, form, and colour, and then reveal the conventional meanings of the work’s dominant discourse and ideology. The pictorial tiles of Shiraz houses have attracted the attention of many researchers, but little research has been done on the coronation theme in the houses despite its importance in Iranian history. It seems that the way and reasons for the representation of such themes need independent research that can help to understand the ruling thought of the Qajar period, so our research can meet this need.The research was descriptive-analytical, and its data was collected by searching library and field sources. Visiting the historical texture of Shiraz and photographing the samples under study is another part of this study. Its statistical population consists of 4 Qajar houses in Shiraz, namely: Saadat, Hasani Ardakani, Atrvash, and Yazdian houses. The Hasani Ardakani house has been purposefully selected as a sample. The data is analysed qualitatively, taking into account the narrative and visual content of the work.The findings show that the extent of this motif in the houses of Shiraz is readable in the two discourses of archaism and despotism. The most important action in the Hasani Ardakani house tile painting is the coronation theme as an ideological action, as some interpretations propose. The motif of the pediment is important in the sense that it is worked on the forehead and in the highest position of the noble house. Because the motif is repeated in some other noble houses of Shiraz, such a theme is related to the ruling thoughts of the society, as a product through which the ideology of the ruling class is transmitted to the society. According to the investigations on the manner of make-up and clothing, the issue of the succession of the Qajar body instead of the ancient king can be considered as a ritual display of giving Khvarenah and as Petitio Principii of a historical narrative. We see in this picture the succession of the Achaemenid king or in general a king from ancient Iran and a Qajar king; both kings have rings in their hands and neither of them are the givers of Khvarenah or power. Rather, the rings have helped establish communication between the two kings. Diadem has also lost his previous mythological role and position and has only connected two rings like a turban. The formal changes of the diadem from two hanging bands that represent good and bad power to four hanging bands on each side show that the mythological thought hidden in the motif of the diadem and the ring has lost, in the Qajar period, its connection with the ancient roots. So, we can see, according to these two discourses, the hidden ideology in the discussed tile paintings as a display of power and an effort to instil legitimacy in the audience. The creation of a trans-temporal relation between the Qajar kings with the ancient Iranian past and the ancient kings who considered the position of kingship as a holy gift and appealed to sacred concepts and personalities to instil their legitimacy can be a reason for the production of the coronation theme in the Qajar era. However, the changes in the process of this representation have made changes in the meaning and narrative and have added different meanings to it according to the time of the creation of the work. Establishing a connection between the Qajar king and Izad or the ancient king, changing the form of the diadem, and using two rings of power manifest this transformation, which led to the suspension of the ancient meaning and concepts and revealed a turn in this process; turning from a religious position to the arena of myth and history. The display of such images in the highest part of the house can be associated with the importance of such depictions. The audience is confronted, in the tile painting of the Hasani Ardakani house, with a kind of succession between the Qajar king and the ancient Iranian king. Placing the king of ancient Iran on the same level as the king of Qajar can emphasize origin and lineage, identify the Qajar dynasty, and attribute them to the kings of ancient Iran. This motif is repeated in most of the houses of this period because the central signifier of this image is Iranian identity, which is given to the Qajar king through the king of ancient Iran.