@article { author = {Amirian Doost, Shahrokh and Azhand, Yaghoub and Nasser Aghai, Seyyed}, title = {Reading the Signs and Symbols in the Firs t Pottery of Iran}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {5-20}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241860}, abstract = {In prehis toric Iran, many phenomena can be identified, and by s tudying them, the function of the symbol in their s tructure is evident. Among these artis tic phenomena, the art of illus tration on pottery should be mentioned. Phenomenology This type of phenomenon requires the decoding of symbolic signs used in their s tructure. Cognitive Science and its related approaches, will be effective in genealogizing such phenomena as well as deciphering these symbols. A significant part of this art is related to painting human images performing symbolic ritual dances. Painting on pottery is an Iranian invention. This article tries to rely on the s tudy, methods, ideas opinions and new approaches of semiotics to read and decipher the remaining images of symbolic and ritual dances on pottery, as a work of art and the illus trated text of Iranian art and culture, Achieve his tory. Through the s tudy, a part of his tory of Iranian visual arts s tudies is also analyzed and the neglegted part of the belief, calture and ritual of ritual-symbolic rhythmic movements in the pas t of Iran will be read. The fundamental result of this research will reveal that mos t of the simple images of pottery painting in prehis toric Iran are symbolically depicted and need to be deciphered for reading. Researchers have dated Iranian his tory since the time of the Achaemenids and the emergence of calligraphy. This article dates back to Prehis toric times and It examines symbols that have been widely used in rituals. What has become clear to international researchers is that humans have long used symbols for a variety of reasons and in The meantime, ritual symbols are a big part of it. In the his tory of Iranian art, one can find a corner of ritual symbols. This article, examines the so-called ritual-symbols. Remains of pottery, pottery and other utensils, as well as various petroglyphs and sculptures, are a major part of these works. In the meantime, Ritual symbols have been of special importance in prehis toric human ritual-mythical life. The s tudy shows that the presence of ritual dances in order to induce symbolic concepts has had a practical effect. In this meditation, an attempt is made to document the surviving works of art from prehis toric Iranian his tory. A significant part of this art is related to painting human images performing symbolic ritual dances. Painting on pottery is an Iranian invention. This article tries to rely on the s tudy, methods, ideas opinions and new approaches of semiotics to read and decipher the remaining images of symbolic and ritual dances on pottery, as a work of art and the illus trated text of Iranian art and culture, Achieve his tory. Through the s tudy, a part of his tory of Iranian visual arts s tudies is also analyzed and the neglegted part of the belief, calture and ritual of ritual-symbolic rhythmic movements in the pas t of Iran will be read. The fundamental result of this research will reveal that mos t of the simple images of pottery painting in prehis toric Iran are symbolically depicted and need to be deciphered for reading.}, keywords = {Religion,Iran,Semiotics,symbol,Painting,Pre-his toric}, title_fa = {خوانش نشانه گی و رموز تصاویر آیینی- حرکتی در نخستین سفال نگاری های ایران(نوع مقاله:پژوهشی)}, abstract_fa = {در ایران پیش از تاریخ، پدیده‌ های هنری_انسانی بسیاری قابل شناسایی است که با مطالعه بر روی آنها کاربست نماد در ساختار آنها مشهود می آید. از میان این پدیدارهای هنری به هنر تصویرسازی بر روی سفالینه ها باید اشاره کرد. پدیدارشناسی اینگونه از پدیدارها، نیاز به رمزگشایی نشانه های نمادین کاربردی در ساختار آنها را دارد. علم نشانه شناختی و رویکردهای وابسته آن، جهت پدیدارشناسی تبار چنین پدیده هایی و نیز رمزگشایی از این نمادها کارآمد خواهد بود. بخش قابل توجه ای از هنر مزبور به نگاره گری تصاویری انسانی در حال اجرای موزون نمادین آیینی مربوط است. این مقاله سعی بر آن دارد تا با تکیه بر مطالعات، روش ها،آراء و رویکردهای نوین علم نشانه شناسی به خوانش و رمزگشایی تصاویر باقی مانده از حرکات نمادین آیینی بر روی سفالینه ها به مثابه اثر هنری و متن تصاویرسازی شده هنری_ فرهنگی ایران در پیش از تاریخ، نائل آید. به واسطه این مطالعه،هم بخشی از تاریخ مطالعات هنرهای تجسمی ایران مورد واکاوی قرار می گیرد و هم بخش مغفول مانده باوری، فرهنگی و آیینی حرکات آیینی_نمادین موزون در گذشته ایران، به مثابه هنر آیینی و نمادین خوانش خواهد شد. نتیجه بنیادین این پژوهش آشکار خواهد کرد که بخش اعظم تصاویر ساده سفال نگاره ها پیش از تاریخ در ایران به صورت نمادگرایانه ای به تصویر در آمده اند که برای خوانش، نیاز به رمزگشایی نشانه گی دارند.}, keywords_fa = {آیین,ایران,نشانه شناسی,نماد,نگاره,پیش از تاریخ}, url = {https://rahpooye.soore.ac.ir/article_241860.html}, eprint = {https://rahpooye.soore.ac.ir/article_241860_172e9068835fb456c5a00a02a4ec417c.pdf} } @article { author = {Mirzaee, Banafsheh and Moradkhani, Ali}, title = {The Contras t of Light and Darkness in the Themes of Seljuk Pottery Motifs in Iran}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {21-32}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241861}, abstract = {Pottery has always been an immortal and enduring art throughout Iran’s ups and down his tory, reflecting the beliefs and thoughts of the communities in their designs. Among these, pottery of the Seljuk period is very important. These potteries have been much more diverse in terms of role and subject than their predecessors.The Seljuk period was a period during which Iranian civilization reached the peak of spiritual and material progress that other periods never reached. The pottery indus try underwent a tremendous transformation during the Seljuk period. Pottery left from this period can be considered among the bes t and mos t beautiful works available. Many of the designs and methods of previous periods have been completed by the pottery makers of this period. In the researches that have been done so far, the content aspect and special symbolism of Seljuk pottery patterns have been paid very little attention; Therefore, this research has s tudied these motifs and their themes in more detail.The motifs of these pottery are often depicted in an epic-mythical space. In the pottery motifs of the Seljuk period, while the mythical motifs and themes of previous periods have continued, in some motifs we see a kind of transition from myth to epic. One of the main reasons for this transition is the composition of the Shahnameh by the Hakim Abolghasem Ferdowsi in the fourth century AH And the effects that Ferdowsi’s Shahnameh has left on the pottery motifs of this period. Ferdowsi’s Shahnameh is the manifes tation of Iranian myths and their symbolic reflection, which using the written and unwritten sources of previous myths, is a manifes tation of beliefs related to the mys terious and ambiguous pas t of Iran and Ferdowsi composed them in the form of poetry. Some of these motifs contain themes with a contras t between light and darkness, which is the fundamental principle of ancient Iran wisdom.Creation begins with this confrontation, and this initial battle becomes a model for the cons tant battle and confrontation of light (equivalent to good) and darkness (equivalent to evil) in Iranian thought. The originality and immortality of light and the contras t between light and darkness for the scholars of ancient Iran is a kind of mys tical view of the universe that continues in the Islamic period.In this qualitative article, the impact of this ancient Iranian monument on Seljuk pottery designs is examined. As a result of the research, it is clear that the continuation of the foundations of ancient Iranian wisdom, wherein the light is the pole of good and positive, and the darkness is the pole of evil and negativity, have been seen in Seljuk pottery, especially in motifs drawn in relation with Ferdowsi’s Shahnameh. Pottery has motifs that are either directly depicted as symbols of light and darkness or good or evil, or the content and themes of the motifs indicate the opposite of these two poles. The present article, using a descriptive-analytical method, is responsible for inves tigating the continuity of this ancient monument on Seljuk pottery designs.  }, keywords = {Pottery,Motifs,Light and Darkness,Seljuk Pottery,Wisdom}, title_fa = {تقابل نور و ظلمت در مضامین نقوش سفال‌های دوره سلجوقی در   ایران(نوع مقاله: پژوهشی)}, abstract_fa = {سفال‌ها در طول تاریخ پر فراز و نشیب ایران، همواره هنری جاودان و ماندگار بوده‌اند و در هر دوره باورها و افکار حاکم بر جوامع را در نقوش خود انعکاس داده‌اند. در این میان سفال‌های دوره سلجوقی بسیار حائز اهمیت هستند. نقوش این سفال‌ها اغلب در فضایی اسطوره‌ای ـ حماسی ترسیم شده اند. برخی از این نقوش حاوی مضامینی هستند با بن‌مایه تقابل نور و ظلمت، که اصل بنیادین حکمت ایران باستان است. در این مقاله، که به روش کیفی است، به بررسی تأثیر این بن‌مایه کهن ایرانی بر نقوش سفال‌های دوره سلجوقی اشاره می شود. در نتیجه پژوهش مشخص می شود که تداوم بنیان‌های حکمت ایران باستان که در آن نور، قطب خیر و مثبت و ظلمت، قطب شر و منفی است، در سفال‌های دوره سلجوقی به خصوص در نقوشی که تحت تأثیر شاهنامه فردوسی ترسیم شده اند، دیده می شود. سفال‌ها دارای نقوشی هستند که یا به طور مستقیم نمادهای نور و ظلمت یا خیر و شر در آن‌ها ترسیم شده و یا محتوا و درون‌مایه نقوش نشان از تقابل این دو قطب دارد. مقاله حاضر با استفاده از روش توصیفی ـ تحلیلی عهده‌دار بررسی تداوم این بن‌مایه کهن ایران باستان بر نقوش سفال سلجوقی است.}, keywords_fa = {سفال,نقش,نور و ظلمت,سفال سلجوقی,حکمت}, url = {https://rahpooye.soore.ac.ir/article_241861.html}, eprint = {https://rahpooye.soore.ac.ir/article_241861_c038ddc74f901ecd6b791bbdf3c1061a.pdf} } @article { author = {Tolou hosseini, Zohre sadat}, title = {Iconology Regarding the Role of the Winged Figure in the Paintings of the Tomb of Shahzadeh Ibrahim of Kashan City}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {33-50}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241886}, abstract = {As one of the religious buildings of the Qajar dynas ty, the tomb of Imamzadeh Ibrahim in Kashan features a number of remarkable murals that present the image of several winged figures who seem as guards depicted over religious figures. These Farvahars are to be found all over the murals painted on the inner side of the dome. The firs t section of this paper is dedicated to introducing the monument of Imamzadeh Ibrahim, the his tory behind murals in the Qajar dynas ty, and also the his toric city if Kashan. The second section of the paper considers the iconology of the winged figure depicted in the paintings of this monument with the purpose of recognizing the origins of this icon in the his tory of Iranian art and culture using the Erwin Panofsky method. The mos t noteworthy ques tion of this s tudy is to comprehend the concept behind the winged figure in this building, and explain why they have been depicted with a half-naked body over religious figures. The Panofsky method has been chosen as the theoretical framework in terms of its s tep-by-s tep accuracy ranging from description to interpretation. As a result of pursuing this s tudy path using the mentioned method, the author came to the conclusion that due to the eclectic nature of the Qajar culture, traces of a general tendency towards religion, Wes ternism, and antiquity can be observed in the works of art associated with this period in his tory. The Farvahars depicted in the murals painted on the inner side of Imamzadeh Ibrahim’s tomb in Kashan have also benefitted from this eclectic approach, and a combination of these three characteris tics can be observed in them. The concept of the guardian angel, which is recognized in the Shiite culture & popular belief as the helper and protector of the Prophet Muhammad (PBUH), the Imams (AS), and other people, has been rather influential on the abundance of illus trations of this figure during the Qajar period. Furthermore, the general desire to appeal to the Ahl al-Bayt, gaining reward in the Hereafter, and closeness to God has contributed to the endowment & vow of a part of an individual’s property for the development of religious tombs and their artis tic decorations. The cons truction and decoration of the monument of Imamzadeh Ibrahim by Khaleh Beygom and the endowment of the land & property of this lady for the cons truction of this tomb are among such examples. A form of naked and fat angels, under the influence of Wes tern painting and illus tration of Cupido (the God of Love), became popular in Iranian art. There are many similarities between these forms and the mentioned winged figures. The form of clothing and face of Imamzadeh Ibrahim’s winged figures is inspired by royal portraiture, the form of crowns of kings, and the clothing of Qajar women. Furthermore, according to the archaic tendencies in Qajar art & culture, the conceptual origin of the guardian angel can also be sought in pre-Islamic art & Zoroas trian beliefs with examples the likes of Izad Soroush, Farvahar, and the influence of the Greek era with figures such as Elahe (Goddess in Persian) Nikeh.}, keywords = {Guardian Angel,Shahzadeh Ibrahim Kashan,Iconology,Qajar Dynas ty,Ancient Iran}, title_fa = {شمایل شناسی نقش انسان بالدار در نقاشی‌های بقعه شاهزاده ابراهیم کاشان(نوع مقاله:پژوهشی)}, abstract_fa = {بقعه شاهزاده ابراهیم کاشان به‌عنوان یکی از بناهای مذهبی دوره قاجار، دارای نقاشی‌های دیواری درخور توجه‌ای است که تصویر چندین انسان بالدار را همچون نگهبانانی بر بالای سر شخصیت های مذهبی نشان ‌داده ‌است. مهم‌ترین سوال این پژوهش شناخت مفهوم انسان بالدار در این بنا و چرایی وجود آن‌ها با اندامی نیمه برهنه بر بالای سر شخصیت های مذهبی بوده که روش پانوفسکی به لحاظ دقت مرحله به مرحله از توصیف تا تفسیر، به عنوان چارچوب نظری، انتخاب شده است. در نتیجه طی‌کردن این مسیر به روش فوق، نگارنده به این نتیجه رسید که با توجه به التقاطی‌بودن فرهنگ قاجار، ردپای گرایش عمومی به مذهب، غرب‌گرایی و باستان‌گرایی در نقاشی‌های این بنا، مشاهده می شود. مفهوم فرشته نگهبان که در فرهنگ شیعی و باور عامه به‌عنوان مددرسان و حافظ پیامبر و خاندان وی شناخته می شود، بر وفور تصویرگری این نقش در دوره قاجار بی‌تأثیر نبوده است. شکلی از فرشتگان عریان و فربه نیز، تحت تأثیر نقاشی غربی در هنر ایران رواج یافت که شباهت بسیاری با انسان‌های بالدار امام‌زاده ابراهیم دارند. همچنین با توجه به تمایلات باستان‌گرایانه در هنر قاجار، خاستگاه مفهومی فرشته نگهبان را می‌توان در هنر پیش از اسلام با مصادیقی چون ایزد سروش، فروهر و الهه نیکه نیز جستجو کرد.  }, keywords_fa = {فرشته نگهبان,شاهزاده ابراهیم کاشان,آیکونولوژی,شمایل شناسی,دوره قاجار,ایران باستان}, url = {https://rahpooye.soore.ac.ir/article_241886.html}, eprint = {https://rahpooye.soore.ac.ir/article_241886_3ef5a7f00b3f8c5e08da02fc38b358cf.pdf} } @article { author = {Sadeghpour, Meysam and Mohammadzadeh, Mehdi and Ghadimi Gheydari, Abbas}, title = {Recognizing the Function of Nazirehsazi in 16th Century Painting (Inves tigating the Reciprocal Relationship Between Habitus and Field With the Focus on Sultan Mohammad Works)}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {51-62}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241889}, abstract = {The arrival of Safavid Empire (1501 - 1736) to the realm of his tory can be deemed as an inflection point in the relationships among artis ts and people involved in traditional Iranian drawing arts. In this period, for the firs t time, many artis ts from different schools (genres) of painting art gathered in the same organization or party under the rule of a single leadership. Before Kamal ud-Din Behzad came to Tabriz (the capital or central city of Safavid Empire), Sultan Mohammad-e Tabrizi was considered the head artis t of the royal library. However, as Shah Ismail favored Kamal ud-Din Behzad who was one of the leading and avant-garde painters of Herat’s atelier in the late 15th and early 16th centuries, Sultan Mohammad-e Tabrizi decided to pursue a different s trategy or tactic to handle the new set of rules and relations that had arisen in the world of painting artis ts. His s trategy was to turn to Nazirehsazi. Nazireh is a piece of art work that an artis t makes in response to or in rivalry with an art work made by another artis t. It is usually a way of showing off one’s skill and daring the other artis t to produce a similar art work. This idea may help one discover new findings about some important art pieces that were made in the 16th century by analyzing the relations and connections between people that played a role in the field of drawing arts at that time. Our inves tigating work, in addition to accounting for the his torical relations and social changes that impacted arts in early Safavid period, sheds light on the relationships among artis ts, their possible personal motivations, and the influence of these relations and motivations on the works of the artis ts. The main goal is to unders tand how the relations and politics among players in the field of arts in the 16th century have manifes ted themselves in the work of artis ts (in particular, Sultan Mohammad-e Tabrizi). Therefore, the activity of the artis t in response to or as a result of the governing rules and politics has been analyzed and explained. To this end, as a firs t s tep, the primary his torical documents are inves tigated and analyzed completely. Thus, our inves tigation has a qualitative and his torical nature. Using an explanatory-analytic method, we shed light on the especial and symbolic performance of Sultan Mohammad-e Tabrizi amid the ongoing social and political forces at that time. The analytic method used in this paper for explaining and interpreting the texts and art works is Pierre Bourdieu’s relation-oriented theory of sociology. This method helped us unders tand that the social relations in the field of arts in Safavid era caused the artis ts and other players choose appropriate s trategies based on the field circums tances and also according to their own personal character and symbolic capital. These players also exploited the rules governing parallel fields (similar to the field of literature).}, keywords = {Safavid Painting,Sultan Mohammad-e Tabrizi,Nazirehsazi,field,habitus}, title_fa = {بازشناسی عملکرد نظیره سازی در نقاشی صفوی سده ی دهم (بررسی رابطه  ی دوسویه  ی میدان و منش با تمرکز بر آثار سلطان محمد)(نوع مقاله:پژوهشی)}, abstract_fa = {تشکیل دولت صفوی را می توان نقطه  ی عطفی در روابط میان کنشگران عرصه  ی نقاشی ایرانی برشمرد. تا پیش از آمدن بهزاد به تبریز، سلطان محمد سرآمد نقاشان کتابخانه  ی سلطنتی به  شمار می رفت اما ارجحیت نمادینی که شاه  اسماعیل برای بهزاد در نظر گرفت، او را وادار کرد تا به فراخور روابط جدید حاکم بر میدان نقاشی، استراتژی مناسبی را در پیش گیرد. این استراتژی روی آوردن به نظیره سازی بود. پژوهش حاضر ضمن توجه به روابط تاریخی و تحولات اجتماعی مؤثر در نقاشی متقدم صفوی، به مناسبات مابین کنشگرانِ عرصه  ی نقاشی و تأثیر روابط مذکور در عملکرد نهاییِ نقاشان تأکید داشته است. هدف اصلی، شناخت رابطه  ی میان عملکرد نقاشان و نیروهای مؤثر در صحنه  ی نقاشی سده  ی دهم می باشد. ماهیت پژوهش کیفی و تاریخی است و با روش تحلیلی ـ توصیفی به تبیین عملکرد سلطان محمد در جریان تغییرات اجتماعی و سیاسی آن دوران پرداخته است. رویکرد مورد استفاده در تفسیر متنها، عملکردها و نگاره ها، جامعه  شناسی رابطه  گرایانه  ی پی یر بوردیو می باشد. این رویکرد سبب گردید تا دریابیم روابط موجود در میدان نقاشی صفوی به گونه ای بود که کنشگران حاضر در آن براساس منش شخصی شان دست به انتخاب استراتژی مناسب با مقتضیات میدان می زدند و در این راستا از قوانین حاکم بر میدان های موازی (مانند ادبیات) نیز بهره می بردند.}, keywords_fa = {نقاشی صفوی,سلطان محمد,نظیره سازی,میدان,منش }, url = {https://rahpooye.soore.ac.ir/article_241889.html}, eprint = {https://rahpooye.soore.ac.ir/article_241889_ed1f50d8dd7d66ccc575997766f97998.pdf} } @article { author = {Mafitabari, Ameneh}, title = {A S tudy on the Icon of Ros tam in Six Persian Paintings of Emad al-Kottab Shahnameh from Comparative Visual Signs}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {63-73}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241862}, abstract = {Every visual element placed in the proper context has the capacity to become a symbolic sign and res tate a general, holis tic, and even universal concept. In literary illus tration, visual signs are considered in two respects: some are borrowed from the literary text while others are made from previous cultural traditions or artis tic creativity, meaning their basis cannot be found in the documented source. Accordingly, the icon of Ros tam in the Qajar Shahnameh by Emad al-Kottab could be a great case s tudy since the visage of Ros tam is illus trated in several gatherings in Ferdowsi’s Shahnameh from the well-known s tories to the little-known ones. Referring back to the literary text, the miniature heritage of pas t periods, and s tylis tic features of Qajar paintings could be fruitful in discovering the general and particular signs of the icon of Ros tam. In this regard, the research ques tion was posed as following: Which pictorial signs are more effective in recognizing the figure of Ros tam in the six Qajar miniatures in Emad al-Kottab’s Shahnameh? The hypothesis was that some pictorial signs taken from the literary text have facilitated dis tinguishing him. The purpose was to clarify the effectivity of pictorial signs in iconology and call attention to the forlorn Emad al-Kottab’s Shahnameh. This comparative-his torical s tudy analyzes six Qajar miniatures taken from about forty pictures in Emad al-Kottab’s Shahnameh by comparing the pictorial signs of the icon of Ros tam. The data was collected through documentary research. Moreover, the samples were selected S tratified randomly in order to analyze the images that narrated the s tories which were popular among general public in different levels in addition to depicting the visage of Ros tam in different occasions. The results of the s tudy showed that although the presence of all pictorial signs are effective in recognition of an icon and the improper absence of some affects the presence of others, some pictorial signs are so influential in defining the limits and boundaries of a picture that they become symbolic and can independently represent the whole picture and the absence of which disrupts the recognition of the whole picture. This is to the degree that even the assurance of several other signs would remain ineffective to recover the loss caused by their absence. In fact, it could be argued that some pictorial signs effective in the recognition of Ros tam are inherited from the literary text of Shahnameh despite their persis tence in the Persian pictorial tradition, for ins tance Babr-e Bayan which can be retrieved not only from Persian miniature tradition but also from the documented source. However, other examples such as middle-aged visage, long forked beard, and mos t importantly horned Div helmet have become the mos t significant pictorial signs in recognizing Ros tam through their repetition in Persian pictorial tradition in spite of the fact that there are no equivalents for them in the literary text. This seems in opposition with the firs t hypothesis and points out the significance of the presence of pictorial signs in the collective memory regardless of commitment or non-commitment to the literary source.}, keywords = {Qajar,persian painting,Visual Signs,Emad al-Kottab Shahnameh,Ros tam}, title_fa = {بازشناسی شمایل رستم در شش نگاره از شاهنامه عمادالکتاب در سنجة تطبیق نشانه های تصویری(نوع مقاله:پژوهشی)}, abstract_fa = {در تصویرگری ادبیات، نشانه های تجسمی از دو حیث به آن راه می  جویند: بخشی وام دار متن ادبی هستند درحالیکه برخی دیگر صرفاً از سنت های فرهنگی پیشین یا خلاقیت هنرمندانه مایه گرفته  اند یعنی بنیان آنها در منبع مکتوب قابل بازیابی نیست. شاهنامه فردوسی و خاصه داستان های رستم که در گذر زمان، بسیار دستمایة نگارگران قرار گرفته، مصداق مناسبی برای مطالعة کارکرد نشانگان تصویری است. در مقاله حاضر پرسش این است: در شش نگاره قاجاری از شاهنامه عمادالکتاب، کدام طیف از نشانه های تصویری در بازشناسی نقش رستم تأثیر بیشتری دارند؟ فرضیه آنکه احتمال می  رود نشانه های تصویری برآمده از متن ادبی، تمییزپذیری وی را بیشتر تسهیل کرده اند. هدف آن است که اثربخشی نشانه های تصویری درشمایل شناسی به تصریح درآید و درعین حال شاهنامه مهجور عمادالکتاب مصداق سخن باشد. نتیجه مطالعه به شیوه تطبیقی و با هدف پیگیری پژوهش های تاریخی؛ نشان می دهد کلاهخود دوشاخ دیوسر، چهره میانسال، ریش دوفاق بلند و ببربیان؛ از مؤثرترین نشانه های تصویری در بازشناسی شمایل رستم در نسخه عمادالکتاب است؛ به طوریکه فقدان آن، در شناسایی وی تردید ایجاد می کند. با این حساب، برخلاف فرضیه نخست، مهم ترین نشانگان تصویری مؤثر در این بازشناسی، در متن ادبی مورد اشاره قرار نگرفته  اند اما چون در نگارگری شاهنامه تکرار داشته اند به اصلی ترین نمادینه های رستم بدل شده اند.}, keywords_fa = {قاجار,نگارگری,نشانه تصویری,شاهنامه عمادالکتاب,رستم}, url = {https://rahpooye.soore.ac.ir/article_241862.html}, eprint = {https://rahpooye.soore.ac.ir/article_241862_4ca31b4782659efcd5292214d6e5d02c.pdf} } @article { author = {KolahKaj, Mansour}, title = {Poetic Ideography in the Graphic Artworks of Farzad Adibi}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {75-82}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241887}, abstract = {Poetic ideography in graphics was es tablished about a century ago under the influence of modern art common in the Futurism period by poets like Marinetti. The intellectual foundations of this poetical view were based on the poet’s liberation from the shackles and res traints of grammar. The visual poetical view was firs t popularized by poets. The product of this poetical view was typography. The poetical view essentially sought to convey the theme of the poem, which was conducted by types. Until the early 1900s, the alphabet letters were utilized only in the usual horizontal/vertical forms. Then, typography was employed in a different form. As Marinetti put it, someone who watched an explosion should have their words thrown at the audience while screaming. In the second half of the 1900s, this expression s tyle continued in some other way in the world of graphic design. This poetical view has been observed in the artworks of some contemporary Iranian designers, including Farzad Adibi. Farzad Adibi has continued to have such a poetical view in a continuous, sys tematic, and different way. His work identity is tied to this design s tyle. He began professional graphic design in the early 1990s. Since then, he has designed numerous artworks in various graphics branches, including “cultural” graphics. A place has been attached to the “writing” in Farzad Adibi, which goes beyond the conventional informational element. Adibi’s recent artworks are an amalgamation of visual poetical view and designer’s nom de plume. Among the characteris tics of his works of art are the designer’s specific identity and its national identity, the visual expression and the special technique used in mos t of his artworks, and a s table personal s tyle. Mos t recent Adibi artworks are manifes tations of poetic and intrinsic ebullition, proportionate to the theme. In light of the foregoing, the present s tudy seeks to answer the ques tion, “What is poetic graphics, and how and why did such poetic ideography take shape in the graphic works of this designer?”. This s tudy aims to describe Persian visual poetic ideography in Iranian graphics and express the deep links between Iranian graphics and fine literature. This s tudy uses a qualitative approach, described by the visual content analysis of Farzad Adibi’s graphic artworks.According to the findings, poetic ideography means works of art whose original idea was a poem or a literary expression. The two characteris tics of a poetical view in graphics are the ironic expression and the fluidity of/liberation from form, which somehow manifes ted in the s tructure and theme of Adibi’s works of art. In response to the ques tion as to why such a poetical view was formed in Adibi’s artworks, several reasons can be mentioned. These include his mas tery of the target language, i.e., poetry and the source language, i.e., graphics, a new visual expression in Iranian graphics (called defamiliarization by Adibi), his special interes t in poetry, the type of orders along with professional works in literary magazines, familiarity with poets and writers, the accumulation of poetic visual experiences, the place attached to poetry and poetical view in the sphere of Iranian thought, and in some cases, his social concerns, in order of priority.  }, keywords = {Poetic Ideography,Visual,Contemporary Iranian Illus tration,Farzad Adibi}, title_fa = {اندیشه‌نگاری‌های شاعرانه در آثار گرافیک «فرزاد ادیبی»(نوع مقاله:پژوهشی)}, abstract_fa = {اندیشه‌نگارهای شاعرانه در گرافیک، تحت تأثیر هنرمدرن در دوره فوتوریسم و به وسیله شاعرانی چون مارینتی حدود یکصدسال پیش شکل گرفت. مبانی فکری این شاعرانگی رهایی شاعران از قید و بند‌های محدود و دست و پا گیر، دستور زبانی بود. این شیوه بیانی در عالم طراحی گرافیک در نیمه دوم سده 1900 میلادی به گونه‌ای دیگر تداوم یافت. نمونه‌هایی از این شاعرانگی درآثار برخی از طراحان معاصر ایران دیده شده، یکی از این طراحان فرزاد ادیبی است. وی‌ تاکنون آثار مختلفی را طراحی کرده‌ که در اغلب آن‌ها به خصوص کارهای متأخر وی، جوششی شاعرانه‌ و درون‌‌نهاد‌ی به تناسب موضوع، جلوه ‌می‌کند، مسئله اصلی این پژوهش، چیستی گرافیک شاعرانه و چگونگی و چرائی شکل‌گیری این ‌اندیشه‌‌نگاری‌ها درآثار گرافیک این طراح است. هدف این تحقیق، توصیف اندیشه‌ نگاری‌های بصری فارسی‌ در گرافیک ایرانی و پیوند عمیق گرافیک و ادبیات فاخر ایران است. رویکرد این پژوهش کیفی است که با تحلیل محتوی بصری آثار گرافیک فرزاد ادیبی، توصیف می‌شود. براساس یافته‌های این مقاله؛ اندیشه نگاری‌های شاعرانه، یعنی آثاری که ایده اولیه آن‌ها شعر یا جمله ادبی است. دو مشخصه شاعرانگی در گرافیک، بیان کنایی و سیالی و رهایی فرم است که در آثار ادیبی این موضوع به گونه‌ای در ساختار و درون مایه اثر رخ نمایی کرده است. اما چرایی شکل‌گیری این شاعرانگی در آثار وی به ترتیب اولویت، آشنایی با زبان مبدأ (شعر) و نیز زبان مقصد(گرافیک)؛ بیان بصری نو در گرافیک ایران؛ چیزی که ادیبی آن را آشنایی‌زدایی نامیده؛ علاقه خاص وی‌ به شعر؛ جنس‌ سفارش‌ها که با کار حرفه‌ای در مجله‌های ادبی‌ همراه بود؛ موأنست با شاعران و نویسندگان، انباشت تجربه‌های بصری شاعرانه، جایگاه شعر و شاعرانگی در سپهر اندیشه ایرانی و در مواردی نیز براساس دغدغه‌های اجتماعی ایشان بوده است.}, keywords_fa = {اندیشه‌نگاری شاعرانگی,تجسمی,تصویرسازی معاصر ایران,فرزاد ادیبی}, url = {https://rahpooye.soore.ac.ir/article_241887.html}, eprint = {https://rahpooye.soore.ac.ir/article_241887_99c284cdc55e95e80d86ac83706c7809.pdf} } @article { author = {Farahbakhshpour, Hossin and Shayganfar, Nader}, title = {S tudy of Simulation Sign Sys tem in Art in Baudrillard’s point of view and its Adjus tment with Pos tmodern Photography with the emphasis on Sherrie Levine’s Works}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {3}, number = {4}, pages = {83-89}, year = {2021}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2021.241888}, abstract = {Jean Baudrillard believes that pos tmodern culture is the only domination of simulacra and hyperreal field creation. In Baudrillard’s interpretation, images do not represent reality anymore, but also they themselves become reality and create the simulated reality. Today, images appear more real than real. He is one of the thinkers who ques tions this dual s tatus between reality and simulation in his ideas and tries to explain a new s tatus: a s tatus in which two components- image and signs’ play- control the social life of human being. Baudrillard discusses the mo s t radical theory in pos tmodernism. He transfers the pos t s tructualism ideas from language theory to medias world. From his point of view in pos tmodern soceity, codes and signs and cybernetic media,dominate over the whole aspects of life. Baudrillard is not looking for reveiling the truth or meaning of images. In his thoughts predominance images and signs are over comprehensive that the real has vanished in serious way. The era life above the images have expired for always and nowadays the only recognizable thing is medias simulacra. In his words it is necessery to hesitate the origin of images, because they are not refer to real things. In pos tmodern situation it is very difficult to dis tinguish between originality and copy, because there is no gap between reality and cybernetics. In Baudrillard point of view, the reality as a categoty that seperated from its signs, in the world saturated of information and media dominance, has been eliminated. He called this situation as Heperrealism. In simulation sys tem of Baudrillard, the language is free from its references. Buadrillard explains that visual signs are simulations that has no relations with the real world. Illusion plays with the reality and produce the reality cause that the images depraves his illusive power. In his words the aes thetics theory could not explain the situation of art contemporary and therefore creates the concept of simulation to explain the contemporary situation. Baudrillad believes that we are confronted with empty future and no new occurence is waiting for us. Pos tmodern photographers were affected by Baudrillard’s ideas about saturation of today’s societies by images. Sherrie Levine is one of them who emphasizes the reproducible nature of photography and believes that everything has been already seen. Today, the concepts of simulation and acute reality have become to the foundation of mos t researches about Baudrillard and the visual thing, especially in cultural production and artis tic critique. This research is trying to analyze the causes of Baudrillard’s ideas about discredit of contemporary art and its adjus tment with pos tmodern photography. As well, it is trying to answer this ques tion in a descriptive and analytical method that how these artis ts utilize the nature of image as simulacrum. The achievements of adjus tment of the present example and Baudrillard’s ideas show that Levine wanted to reproduce the simulacra in a sarcas tic manner by presenting the hyperreal images.}, keywords = {Pos tmodernism,Simulation,Hyperreal,Sherrie Levine,Jean Baudrillard}, title_fa = {بررسی نظام نشانه ای وانمودگی از نظر بودریار و تطبیق آن بر گستره عکاسی پسامدرن  با تاکید بر آثار شری لواین(نوع مقاله:پژوهشی)}, abstract_fa = {ژان بودریار فرهنگ پسامدرن را چیزی نمی داند جز سیطره وانموده ها و آفرینش فضای فراواقعی. به تعبیر بودریار تصاویر دیگر واقعیت را نمایندگی نمی کنند، بلکه خود تبدیل به واقعیت می شوند و واقعیت وانموده پدید می آورند؛ امروزه تصاویر واقعی تر از واقعی جلوه می کنند. وی یکی از متفکرانی است که در اندیشه های خود به خوبی این وضعیت دوگانه میان واقعیت و وانموده را مورد پرسش قرار می دهد و سعی در تبیین وضعیت تازه ای دارد؛ وضعیتی که در آن دو مولفه ایماژ (تصویر) و بازی نشانه ها حیات اجتماعی بشر را تحت کنترل دارند. به موازات اندیشه های بودریار، عکاسان پسامدرن سعی دارند وضعیت مذکور را به واسطه آثار خود نمایش دهند. از جمله این هنرمندان شری لواین است که بر سرشت بازتولید پذیری رسانه عکاسی تاکید می کند و بر آن است که همه چیز قبلا دیده شده است. از آنجایی که مفاهیم وانمایی و فراواقعیت به شالوده بیشتر پژوهش ها درخصوص بودریار و امر بصری تبدیل شده است، پژوهش حاضر تلاش دارد که ضمن بررسی چرایی نظر بودریار در مورد بی اعتباری هنر معاصر، آن را با شاخه عکاسی پسامدرن تطبیق دهد و به روش توصیفی و تحلیلی به این پرسش پاسخ دهد که این هنرمندان چگونه از هویت تصویر به مثابه وانموده بهره گرفته اند. دستاوردهای حاصل از تطبیق نمونه حاضر و اندیشه های بودریار نشان داد که لواین با ارائه تصاویر فراواقعی، در پی بازتولید کنایه آمیز وانموده ها برآمده است.}, keywords_fa = {ژان بودریار,پسامدرنیسم,وانمودگی,فراواقعیت,شری لواین,عکاسی}, url = {https://rahpooye.soore.ac.ir/article_241888.html}, eprint = {https://rahpooye.soore.ac.ir/article_241888_46fff54acaf9bc1aa0d92a793f4ec772.pdf} }