خوانشی نو از تابلوی شمس اثر استاد نصرالله افجه‌ای با رویکرد ژرار ژنت

Intertextual reading is considered one of the methods of new criticism that tries to relate the text with other texts and by considering the relationships between different texts and their influence on each other, to clarify a new approach to meaning. On this basis, this article intends to reread the Shams painting by Nasrullah Afjaei, read the written and visual signs in it, and answer the question of what each of these signs indicates. What hidden meanings can the relationships between them form? This research is qualitative and descriptive-analytical, and practical in terms of purpose. The subject of study in this research is a painting by Nasrullah Afjei, executed in 1359 with paint and oil technique on canvas. In the analysis method, the approach of intertextuality is described first, and among the theorists of this field, Gerard Genet’s opinions and the intertextuality process were discussed. Since this work includes two types of written and visual signs, written and visual cues are discussed, and then the interactive effect of written and visible text and their intratextual and extratextual relationships in intertextuality and hypertextuality is explained. The writing system includes Thuluth and Nastaliq calligraphy; One of the notable points in the work is that the frame of the work is considered part of the work; Master Afjehai wrote the translation of Surah Shams in Nastaliq script, and a frame maker carved them in relief on the width of the wooden frame. Based on this, the writing of Nastaliq and Tholut on edge is also among the written signs of the work. The symbolic system of the image also includes four parts: the portrait of Hazrat Imam Khomeini (RA), which is in graphic form; vertical lines covering the Imam’s face; The color of the work, and the decorative shapes around the writings of the wooden frame. It should be noted that the textual data of this research was collected in a documentary, fiche, and library manner, and image data was collected based on field research, photography, and direct observation of the work. The results of the study indicate the existence of solid intertexts in the fields of Iranian-Islamic culture, as well as the purposeful creation of the work based on hypertextuality relationships between the Tholut script, the Nastaliq script, and the image of Imam Khomeini (RA), which ultimately forms a position that, in addition to having an aesthetic dimension And adherence to the principles of calligraphy art represents the artist’s heartfelt beliefs about the most important historical development of his time. Also, this analysis showed that the relationship between the architextuality of the work depends on the Calligraphic painting. Its metatextuality is the type of confirmation and description, and the paratextuality of the work was formed through Ayatollah Taleghani’s interpretation of Surah Mubarakah Shams and caused motivation in the artist to create the piece. Written and visual systems complement each other and effectively form the final meaning. Explicit intertextuality in the use of the written Arabic text of Surah Shams and its Persian translation is shown in the frame. Its implicit intertextuality can be seen at the linguistic level, in the selection and writing of Surah Mubarakah Shams in Arabic and its translation into Persian, and at the paralinguistic level in Punctuation and typography tricks on a non-linguistic level, he investigated the cultural dimension and aesthetic codes of the two calligraphy of Thought and Nastaliq. The symbolic system of the Nastaliq text of Surah and Imam Khomeini’s image of intra-cultural intertextuality and the Arabic text of Surah Mubarakah Shams indicate the work’s intertextuality. Also, although the twisting of the letters of the Thuluth has an aesthetic dimension, it can mean the visual interpretation of the mention of the holy word in Islamic belief. The dark and light vertical lines created by the stretching of the letters Alef and Lam of Surah Shams, in addition to the decorative meaning, show the concepts of standing and clear victory over darkness, which, due to the content of Surah Shams and the hidden sense in its good verses, refer to resurrection, There is a national uprising in which symbolic meaning is formed between the portrait of the revolutionary leader and the importance of the sun, The audience is promised the good news of victory and the resurgence of Islam. Also, the work of Shams in the context of hypertextuality, in terms of function, has a serious role, and similitude (imitation) has a forgery similitude. The type of use of the Thuluth has formed the sameness of the pastiche. The image of the Imam’s face is a type of forgery. In reading transformation (change), there is also a reductive transformation in removing photo details, which also has a slightly increasing torque due to stretching the letters Alef and Lam. This work is because it is the first calligraphy painting in which the art of calligraphy is combined with the art of graphic portraiture and has an intermodal transmodalization aspect. It has been able to create a new form in the creation of works in the genre of calligraphy, which looks creative and original