@article { author = {Moradkhani, Ali and Atighehchi, Nasrin}, title = {Interpretation of semiology of the colour based on philosophical foundation Islamic Persian painting……. Research Paper}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {1}, number = {4}, pages = {5-21}, year = {2019}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2019.241813}, abstract = {The colours on the Islamic Iranian paintings, are the signs of sacred and divinity cosmos in which, the light of God has the main role. The openness of artist’s heart to view the “mundus imaginalis” is the reason of being the colours as above mentioned. The topic of this article is interpretation of semiology of the colour on Islamic Iranian painting based on philosophical foundations. The main purpose of this article is analysis and interpretation of the colour as a symbolic sign (according to pierce concept) on Islamic Iranian painting. Method of this research is based on descriptive research, which provided through library documents. The colours of Islamic Iranian painting are the symbols and codes of divinity cosmos named “mundus Imaginalis”, which signify philosophical and spiritual concepts. The results of this research indicating of the effect of spiritual conception of Islamic mysticism and Farrahi philosophy of ancient Iran, which have caused the artist used spiritual meanings for the colours as the signs of “Mundus Imaginalis”. Colour on Islamic Iranian painting is a symbol and code for mimesis of the truth of the cosmos of light. The hypothesis of this article is based on using Peirce semiology and his definition of symbolic signs which might be interpreted and definned the significations of semiology of colours in Islamic Iranian paintings by referring to the philosophical and gnostic meanings. Semiology is the science in which the main purpose is the cognition and analysis of the signs and symbols. From peirce point of view, anything which determines something else (its interpretant) to refer to an object to which itself refers in the same way, is a sign. The relationship of sign and signification introduce the “Text”. The text as defined, is a recorded message, Any text could be a system of signs.In this article, Islamic Iranian painting considered as a cultural text in which the colours are a system. of sign, bearing with philosophical meanings and significations derived of Islamic Iranian mysticism. Semiological approch of Islamic Iranian painting towards interpration and analysis meanings of the signs of colours could be a new study on relationship between traditional painting art and Science of Semiology. It may cause a Viewer has the same sense as sofi artists had experienced. From this point of view, what the viewer would see intuitively is cosmos named “mundus imaginalis” as seen by artists. the study of data in this research indicating although the colours of Islamic Iranian paintings reflect seemingly the natural colours but artist’s purpose has not been studied the physics of colours, and on the country artist has intended to represent the cosmos of “mundus imaginalis”, in which the colours and images are made of divine light. Persian painter could have concluded that, in order to immortalize the paintings throughout history, have choose imitation of the truth and examples of eternal, because the truth could not be antiquated and lasted for perpetuity. Artist choose gloss, brilliance and purity of colours to being reminiscent of the lights of pure divine.}, keywords = {Mundus imaginalis,Semiology of the colour,Farrahi light,symbol,Spritual journeying and wayfairing}, title_fa = {تفسیر نشانه شناختی رنگ از منظر حکمی در نگارگری ایرانی- اسلامی(نوع مقاله: پژوهشی)}, abstract_fa = {در هنر نگارگری ایرانی- اسلامی، رنگ‌ نشانه‌ای از جهان قدسی و ملکوتی است، که در آن نور الهی نقش اصلی را ایفا می کند. حضور رنگ در این نقاشی‌ها پیامد باز شدن چشم دل هنرمند و دیدار او از عالم مثال و خیال می‌باشد. عنوان مقاله‌ی حاضر تفسیر نشانه شناختی رنگ از منظر حکمی در نگارگری ایرانی- اسلامی است، و هدف از آن تأویل معنا شناسانه‌ی رنگ به عنوان نشانه ی نمادین (بنابر تلقی پیرس) در این هنر است. نشانه شناسی علمی است که هدف خود را شناخت و تحلیل نشانه‌ها و نمادها می‌داند. بنابر تعریف پیرس نشانه چیزی است که جای چیزی دیگری می‌نشیند و بر معنا و مفهومی دلالت دارد. پیوند نشانه با معنامندی اصطلاح متن را پیش می‌کشد. بنابر تعریف متن عبارت از پیامی ثبت شده است و هر متن را می توان نظامی از نشانه‌ها دانست. در مقاله حاضر نگارگری ایرانی - اسلامی به منزله‌ی متنی فرهنگی منظور نظر قرار گرفته است، که در آن رنگ‌ها نظامی از نشانه‌هایی با معنا و دلالت‌های معنوی و حکمی برگرفته از عرفان ایرانی - اسلامی و رمز و نمادی از عالم مثال می‌باشند. روش پژوهش توصیفی و با استفاده از اسناد  و مدارک کتابخانه‌ای است. نتیجه مقاله روشن می‌نماید که تأثیر بینش معنوی عارفان اسلامی و حکمت فرهی در ایران باستان، نگارگران را بر آن داشته تا از مفاهیم مینوی رنگ به عنوان نشانه‌هایی از عالم مثال در آثار خود بهره بگیرند. رنگ در نگارگری ایرانی - اسلامی نماد و رمزی برای محاکات حقیقت عالم مثال است. فرضیه‌ی مقاله این است که از طریق نشانه‌شناسی «پیرس» و تعریف او از نشانه‌های نمادین می توان به تاویل دلالت‌های نشانه‌شناسانه‌ی رنگ در نگارگری ایرانی - اسلامی با  توجه به مفاهیم حکمی و عرفانی پرداخت.}, keywords_fa = {عالم مثال,نشانه شناسی رنگ,نور فرهی,نماد,مراتب سلوک}, url = {https://rahpooye.soore.ac.ir/article_241813.html}, eprint = {https://rahpooye.soore.ac.ir/article_241813_9b0ff1b8aa61e461150cce966ea6aa31.pdf} }