تحلیل بینامتنی و بیناگفتمانی نقش‌برجسته‌ی نبرد فتح‌علی‌شاه با شیر، شهرری

The perpetuating and repeating pagan patterns of Iran's art can be understood by studying the artworks and the documents associated with art that has remained since the period in which Fath-Ali shah was the king of Iran.
The royal painting house flourished during the mentioned period and a literary association named Khqan, was formed; artists gathered in Tehran and got support, on the other hand, the social and political atmosphere stabilized which is why the country was at peace. Furthermore, Fath-Ali shah’s poetic and peaceful behavior and his interest in culture aside from the Terms of society provided a suitable atmosphere for the activities of artists, writers, and enthusiasts in culture; eventually, there was an expansion for most kinds of arts in this period.
With the beginning of the reign of Fath-Ali Shah, in addition to the martial subjects, artistic subjects were created in several formats naming visual works, especially murals, and rock reliefs, such as "royal accession" and "hunting scenes".
The Safavid period was affected by foreign cultures; these effects reached Fath-Ali shah’s period through Afshar and Zand artists and affected the Qajar period’s pictorial formation. "Royal portraits" and "mural paintings" are major trends and the result of this continuity and connection in between. Furthermore, Fath-Ali shah formed a movement with the purpose of literary return, which actively demonstrates Activities in line with language protection in literature and the formation of the "Khaqan Association". Also, attention to the Shahnameh and literary classics, concentration on archaism (Achaemenid and Sasanian classical art) In the creation of works, especially in rock reliefs, has been considered in terms of the subject, technique, and context of execution.
Mural painting can be considered the outcome of the relationship between three disciplines or media: "painting", "sculpture" and "architecture". Stone reliefs (rocks) are a subcategory of mural painting due to their dependence on the context (natural wall: rock and the wall of architectural buildings). On the other hand, one of the prominent trends is sculpting is the process of creating a relief, which is performed with materials and volume processing techniques (reduction and increase). Therefore, reliefs can be considered a type of Intermedia; which is related to painting on the one hand and sculpture and even architecture on the other hand.
The reliefs of the Qajar period are directly related to the paintings of this period in terms of pictorial formation and subject matter. From the Qajar period, eight rock reliefs have been left; Most of the works belong to the reign of Fath-Ali Shah Qajar. Three prominent reliefs, "Tengewashi hunting, Firouzkoh 1233 A.H.", "Fath-Ali Shah's battle with a lion (lion hunting) in Shahr-e-Ray city 1246 A.H.", "Fath-Ali Shah's royal procession at Cheshme Ali Shahr-E-Ray 1248 A.H.", all three were designed by "Abdullah Khan" Naqash Bashi and the performance of "Gasem Khan". These reliefs have the most relationship and closeness with each other than other figures of the Qajar period. The common denominator is that all three works, in addition to the visual part, have written texts in both prose and verse in the margins or in the text of the works.
The relief of "Fath-Ali Shah's Battle with a Lion (Lion Hunting), Mount Sorsoreh" was executed at the end of the reign of Fath-Ali Shah on a Sassanid relief on the southern front of Mount Sorsoreh which was located in the Dejarshkan area of Shahr-e-Ray city. In fact, this relief was replaced with the previous one and it was executed in 1246 A.H., with dimensions of 6x4 meters, designed by Abdullah Khan Naqshbashi and sculptor Mohammad Qasim Hajarbashi. Finally, it was destroyed by the construction of a cement factory next to it in the 1950s. Access to the information concerning this case study is through the perusal of documents, reports, and related works in the form of photos and images, and designs that have been left from the Qajar and Pahlavi periods. Based on the study approach of this research (inter-discourse study). First, in the text description stage, the Qajar relief is studied according to the formal and spatial components. Then, in the stage of interpretation and explanation, taking into account the intertextual relationships, effective pretexts in creating the work in terms of thematic and media capabilities will be provided. And also the created hypertexts are prepared based on the researched work and the context of discourse analysis as well as the study of inter-discourse relations.
In this study process, the opinions of "Gerard Genet" are used in the field of intertextual studies, as well as the opinions of "Norman Fairclough" and the interdiscourse study approaches. This research has been done using descriptive - analytical method and utilization of library sources and field studies.