نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 43 (بهار 1403)

The meaning of an illustrated story is to express a narrative formed by successive pictures, therefore, in other words, it is also Comic Strip. If we want to take a deeper look at the field of the story or illustrated narration, it can be said that their background goes back to the wall paintings of the cave dwellers and ancient paintings which, over time, in different societies, have become models for the transfer of concepts and knowledge through the use of text and pictures together, To the extent that people, whether literate or illiterate, could get more or less the author's message by looking at the manuscripts with the spice of the picture. Manga is a term to refer to a special type of illustrated story in Japan, which is a collection of sequential pictures and its roots go back to around the twelfth century. Similar to the existing background for Japanese manga, in the traditional artworks of Iran, in the same way, in most cases, text and pictures have served each other. The texts and sometimes the poems in some visual versions have been descriptive or narrators of events in some cases, it was not possible to read the work without the presence of the text, or it was difficult or impossible for the public to understand the text without the help and presence of the picture illustrated stories are still produced in Iran on a much smaller scale, but in a global comparison, it does not have a local appearance, or in other words, it does not carry Iranian traditional and cultural elements. For this reason, this research, with the hypothesis of the existence of a common visual basis in the illustrated stories of Iran and Japan, seeks to do so with a comparative study between the functions of the visual elements in the visual works of Iranian lithographs and Japanese manga. Osamu Tezuka's Buddha, which will reveal a lot of visual information, realizes the capabilities of Iranian works to produce contemporary illustrated stories as well as new artistic products such as animation and anime. The selection of two case examples in this research was because Japanese manga is printed in black and white due to its high popularity and cost savings. Also, Iranian lithographic works are black and white in most cases, not using the element of color in the two categories of works will make the matching of visual elements easier to some extent. Dealing with the topic of this research can be considered a clear example of the role of popular media in the successful preservation of some ancient cultural and artistic forms that are subject to being forgotten due to the review and influence of other works. It should be noted that research has also been conducted in line with the case examples in question, but these researches have not been comparative, referring to traditional Iranian works and comparing them with mangas, and for this reason, this research is new.

Semiotics transform the artist's work into a text full of symbols that can be reinterpreted through decoding. Roland Barthes uses semiotics, in addition to explaining the meaning of the messages of these cultural creations, he also investigates the intention, the way of production, and the identity of their producers. Barthes explains how signs are transformed into meaningful systems through the use of 'Five codes' (hermeneutics, symbolic, poetic, semantic, referential, or cultural). This research is aimed at analyzing the staged photographs of Jeff Wall, a Canadian contemporary artist, using Barth's five codes. The primary objective is to read Wall's works using Barthes's approach. The type of research used in this study is semiotics and involves qualitative methods. Gathering information through a library method and viewing images. Analysis with qualitative method is based on Barthes semiotics. Selective sampling is non-random. According to this research, Jeff Wall's privileged position in the world of fine art photography is achieved through the use of symbols and the reproduction of understated concepts from art history. After using Bart's five codes to examine the photos, it was discovered that the text was read by the photographer, Bart's codes, and the audience. In codes dedicated to reading text with studious and explicit meanings, the role of the reader is weak, and in codes dedicated to written text with punctuation and implied meanings of the image, the reader has the role of creating the text. Jeff Wall's photographs can be read, interpreted, and decoded based on Barth's five codes, because on the one hand, through visual narration of his work, the photographer takes the audience with him, and on the other hand, he leads the audience to new reading and interpretation based on punctum. He forces himself; in such a way that the meaning goes beyond the level of the staged image and causes the creation of a personal and new meaning by the audience facing the work. This study suggests that more research be done on the semiotic analysis of Jeff Wall's photos. By conducting this research, we can gain a deeper understanding of the concepts and connections in Jeff Wall's photographs and gain a better understanding of their significance in contemporary art. Also, the relationship of Jeff Wall's photographs with other works of art such as painting, cinema, and literature can be examined and help us to understand the impact and differences of Jeff Wall's photographs with other works of art. Additionally, it is important to consider the significance of Jeff Wall's photographs in shaping culture and society. By examining the impact of these works on the ideals, values, and attitudes of society, it is possible to understand how Jeff Wall's photographs affect the interaction with culture and society.

Tiling is one of noble arts that is related to Iranian architecture. The first sample of tiles in the world was used in Iran. In the art of tiling, artists depicted beliefs, religious concepts, narrative, epic, and mythological themes. Tiling actually was a visual language of tile painters. Like other arts, tiling declined during Qajar era, but eventually found its own style. Tiling was used in decorating different buildings including gardens, palaces, holly places and houses during Qajar era. Tiling was used in different parts of these buildings including walls, dados, porches, rooms, pool houses, and the head of buildings. The use of tiling with fresh and lively colors became popular in various buildings which was unprecedented in Iranian tiling before that. In addition to having visual beauty, tiling was a resistant material that was suitable for different parts of the building.Shiraz had its own style in the field of tiling in Qajar era and outstanding tiling of Qajar era can be found in various buildings of this city. Tiling reached its peak in Shiraz houses during Qajar era. Shiraz Qajar houses have a valuable treasure of this era tiling. Although the artistic features of these tiles follow the artistic schools of Qajar era, their themes were formed under the influence of various social factors. These tiling have been used in different parts of Shiraz Qajar houses including the head of building, yard, dados, pool house, porch, and rooms. Some of these tiling is being destroyed. Therefore, analysing the social factors influencing on the formation of these tiling motifs is very important to keep them alive and recreate them. So, the aim of the present research is to analyse the social factors influencing on the formation of Haft-Rang tiling motifs in Qajar houses of Shiraz. Since the thematic focus of this research is on Qajar houses of Shiraz and it examines a specific geographical area, therefore, it has been tried to consider all social factors influencing the artistic features of the works. The research question is as follows: What Social factors have influenced the formation of tiling motifs in Qajar houses of Shiraz? Research method is descriptive-analytical, data collection method is library-based and data analysis method is qualitative. To do the research, the tiles of seven Qajar houses in Shiraz (Atrvash house, Zinat-al-molk house, Qavam-al-molk house, Dokhanchi house, Salehi house, Saadat house, and Mohtasham house) were examined. Research findings demonstrated that the motifs of these tiling are a reflection of the set of social factors of Qajar era such as the structure of society, beliefs, cultural events, market, jobs and social attentions between traditionalism and foreignism in Qajar society. This result shows that tile maker artists of Qajar era paid special attention to social beliefs and concepts for the design and construction of their works.

The Shiite painting of the afterlife judgment from Tahmasbi's Falnama was written and painted in (967-962 AH) by order of Shah Tahmasb Safavi in Qazvin city. During his reign, Shah Tahmasab tried to stabilize Shiism. The iconologic reading of the Shiite paintings of Tahmasbi's Falnama can refer to the hidden meaning and values of the society of that period. The iconology approach deals with the content of the artwork in the context of a civilization. Erwin Panofsky (1892-1968) presented this approach in a methodical way and expressed three levels of meaning ( Pre - Iconographic Description , Iconographic Analysis , Iconological Interpretation ) for reading the artwork. The main purpose of this research is how to analyze the iconology of the afterlife judgment painting from Tahmasbi's Falnama with Erwin Panofsky's opinions and The secondary goal is to investigate the values of Shah Tahmasab's period, which the painter consciously or unconsciously reflected in the painting . Therefore , it is looking for answers to these questions : With its iconographic reading, the painting was influenced by what historical and religious texts ? What institutionalized values and beliefs of the society are reflected in the afterlife judgment painting ? This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy. This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy.

Figural imagery has a long history in Iranian textiles and was an important part of the decorative motifs in Iranian ancient textiles. With the advent of Islam and the prohibition of the use of human imagery and figural motifs in artworks, Calligraphy was used as a substitute for human motifs and as the dominant decoration until the end of the ninth century AH. From the end of the ninth century AH, especially in the Safavid era, the tendency towards the visual traditions of ancient Iran has increased and figural imagery in textiles became popular in various ways. In the meantime, there is a group of fabrics with human motifs that their decorations include the subject of captivity which has never been seen in Iranian textile design. The purpose of this article is to study the Safavid textiles containing the motifs of soldiers and captives and to analyze and interpret them based on the socio-political conditions of the Safavid period. Therefore, answering these questions is intended: What factors led to the formation of this group of designs in the Safavid textiles? And what are the cultural and social characteristics of the fabrics containing the imagery of soldier and captive? The research method is descriptive-analytical and the information has been collected in the form of library studies. by examining the samples available in the museums inside and outside Iran, it was determined that The content of the designs of these textiles was directly related to the socio-political conditions of the Safavid period and the purpose of their production was probably to show the political power of the Safavid kings.Figural imagery has a long history in Iranian textiles and was an important part of the decorative motifs in Iranian ancient textiles. With the advent of Islam and the prohibition of the use of human imagery and figural motifs in artworks, Calligraphy was used as a substitute for human motifs and as the dominant decoration until the end of the ninth century AH. From the end of the ninth century AH, especially in the Safavid era, the tendency towards the visual traditions of ancient Iran has increased and figural imagery in textiles became popular in various ways. In the meantime, there is a group of fabrics with human motifs that their decorations include the subject of captivity which has never been seen in Iranian textile design. The purpose of this article is to study the Safavid textiles containing the motifs of soldiers and captives and to analyze and interpret them based on the socio-political conditions of the Safavid period. The research method is descriptive-analytical and the information has been collected in the form of library studies. by examining the samples available in the museums inside and outside Iran, it was determined that The content of the designs of these textiles was directly related to the socio-political conditions of the Safavid period and the purpose of their production was probably to show the political power of the Safavid kings.

in 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures shone in various fields including painting, and among these artists, the works of the famous artist Mohammad Siah Qalam follow an original and different way of painting. For some time, he was in charge of the library of Amir Ali Shirnavai, a prominent poet, scientist and politician of the Timurid era, and he painted and drew and later chose a special style of drawing and illustration for himself. Many researches have been done regarding the identity and characteristics of Mohammad Siah Qalam’s works, but the role of adaptation in artistic creations from Mohammad Siah Qalam’s works by contemporary artists has been less researched. This research tries to examine the works of two artists, one Iranian and the other British, i.e. Ahmad Aminnazar and Richard Bartel, to deal with the methods of extracting black ink works in the works of these two artists and to answer the question of what ways the artists under investigation use their works. Black ink has been affected. Based on the findings of this research, the examined artists have been most influenced by black ink works in areas such as terrifying atmosphere, limited color selection, setting )space( solitude, concentrated composition, appearance characteristics and grotesque atmosphere. In the meantime, Amin Nazar used a different linear drawing method and Bartel did not follow the black pen and chose a different method in polyhedral drawing and shading. In 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures shone in various fields including painting, and among these artists, the works of the famous artist Mohammad Siah Qalam follow an original and different way of painting. For some time, he was in charge of the library of Amir Ali Shirnavai, a prominent poet, scientist and politician of the Timurid era, and he painted and drew and later chose a special style of drawing and illustration for himself. Many researches have been done regarding the identity and characteristics of Mohammad Siah Qalam’s works, but the role of adaptation in artistic creations from Mohammad Siah Qalam’s works by contemporary artists has been less researched. This research tries to examine the works of two artists, one Iranian and the other British that is, Ahmad Aminnazar and Richard Bartel, to deal with the methods of extracting black ink works in the works of these two artists and to answer the question of what ways the artists under investigation use their works. Black ink has been affected. Based on the findings of this research, the examined artists have been most influenced by black ink works in areas such as terrifying atmosphere, limited color selection, background )space( solitude, concentrated composition, appearance characteristics and grotesque atmosphere. In the meantime, Amin Nazar used a different linear drawing method and Bartel did not follow the black pen and chose a different method in polyhedral painting and shading. In the 9th century Iran, coinciding with the reign of Sultan Hossein Bayqra in Herat, brilliant figures in various fields such as multifaceted painting and shading did not follow black pen and chose a different method