دانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120Iconography of Hercules; The Symbolic Movement of Hercules from the West to Gandhāra (India) in the Parthian Periodشمایلشناسی هرکول؛ حرکت نمادین هرکول از غرب به گُنداره (هند) در دوره اشکانی51872052210.22034/ra.2025.2039467.1471FAاحمدحیدریدانشجوی دکتری پژوهش هنر، گروه هنر، دانشکده عمران معماری و هنر، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران.0000-0003-2572-5086فاطمهشاهرودیاستادیار گروه پژوهش هنر، دانشکده هنر، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران.0000-0002-8394-3199ایلنازرهبراستادیار گروه هنر، دانشکده عمران معماری و هنر، واحد علوم و تحقیقات،دانشگاه آزاد اسلامی، تهران، ایران.Journal Article20240824This research first deals with the differences and commonalities, in terms of icons form and symbols used, between Hercules and Vajrapani in India and then explains the form and states of lying and sleeping of the icons and seeks to find The meaning and thematic relationship between the image of a person lying on the bed (the role of Hercules) and the state of sleeping on the bed (nirvana).<br />The result of the study shows that the icon of Hercules had a symbolic journey from the west to the east. It shows that the image of Hercules first appeared on the coins of Alexander and the rulers of Bactria, the Greek colony of Balkh. This icon changes and changes in form and symbols in two stages.<br />The second stage of transformation occurs in the first three centuries of AD. The icon of Hercules undergoes a cultural transformation; These changes occur due to the emergence of the spice route and the formation of caravan cities in the 1st century AD and the spread of Stoicism philosophy in the eastern Mediterranean lands. The Stoicism tried to reconcile religious sects with each other. Therefore, at this point in time, old religions are combined with each other and eclectic religions emerge. The Stoicism accepted the Roman belief that the soul of a person after death turns into tiny particles and remains in the air, and if the soul has no faults and sins, it goes to the moon and then the sun. This philosophy has an influence on the popularization of one of the postures and gestures of Hercules, which is the form of the person lying on the bed, which represents the feast and the scene of drinking the holy liquid (wine) for immortality, and in this period, throughout the eastern Mediterranean lands. It is widespread from Palmyra to Parthian territory and then throughout the Kushan territory (in Gandhāra and Mathûra areas).<br />The symbol of Vajrapāni is Vajra, instead of the club and Nemean lion skin in the image of Hercules, which is a weapon of metal shape and the nature of lightning, this weapon was taken from Indra and because it shines like a diamond, it is also a symbol of wealth. He is the protector and guardian of Buddha and sometimes Vajrapāni appears like a Bodhisattva, his face is harsh and aggressive and, in some cases, he is kind and calm. While Hercules is like a hero and sometimes has Dionysian spirit. Vajrapāni's role is to guide the Buddha in his travels, while Hercules is the guide to the spirits of the dead.<br />The iconology of Hercules shows that the application of the role of Hercules in the cultural context of India (Gandhāra and Mathûra basin) has caused changes in the concepts and tasks and narration of the myth of Hercules. The myth of Hercules is shown on the narrative of a hero who kills and destroys the enemy and the unworthy in his missions. While in the Vajrapāni narrative, he is the protector of the Buddha or in the position of Bodhisattva and subdues the enemies or rebels by threats, he does not kill because killing any living being, in Indian culture, means from the cycle of life exit or Samsara; And only one who reaches the stage of perfection, his soul can leave the cycle of life; This stage is called nirvana, which means reaching perfection and eternal peace that Buddha and redeemed people reach. On the other hand, in Gandhāra, the role of Hercules can be seen while in addition to the skin of a lion in his hand, the image of a live lion can be seen watching the scene, which seems to represent the rebirth of the lion or its taming. He is, while in Greek Hercules, he has the role of killing the lion and in all the scenes he is seen only with the skin of a lion or fighting with a lion, and there is no trace of a tamed lion by his side.<br />In terms of iconology, the icon of Hercules in its symbolic journey towards the east is placed in the context and cultural context of India (Buddhism-Brahmanism) and due to the expansion of the two intellectual systems of the Mahayana sect in India and the philosophy of the Stoicism from the west, in the first three centuries AD, undergoes cultural transformation. Some symbols, functions and states of Hercules are divided and assigned to two characters Vajrapāni and Buddha. While Vajrapāni stands next to the Buddha with the same image and duties as Hercules, the form of Hercules lying on the bed turns into the state of the sleeping Buddha (in the stage of nirvana), which is both the concept of reaching perfection and immortality, and in other words, the representation of the last supper and immortality.در شمایلنگاری دنیای باستان، هرکول شخصیت اسطورهای یونانی، در حالات و ژستهای متفاوتی تصویر شده است. یکی از این فرمها، شمایل فرد لمیده بر تخت است. این صحنه بیانگر ضیافتی است که برای متوفی تدارک دیده میشد. شخصیت قابل تطبیق با او در هند (گنداره)، وَجرَپانی است. به رغم وجوه اشتراکی که میان هرکول و وَجرَپانی (محافظ شخصی بودا) وجود دارد؛ نمادهای به کار رفته و ساختار روایی این اسطوره هندی با نسخه یونانی تفاوتهای آشکاری دارد که ماحصل بافت فرهنگی و زمینهی مذهبی و تاریخی حوزه فرهنگی هند میباشد. هدف از این پژوهش واکاوی سفر نمادین هرکول به هند و تبدیل او به وَجرَپانی، معانی نهفته در حالت نیروانه یا خفته (کمال یافته) و شناخت حالتها و ژستهای فرد لمیده بر تخت (هرکول) است. پژوهش حاضر از لحاظ ماهیت توصیفی -تحلیلی است و بر پایه تحلیل آیکونولــوژی پانوفســکی صورت گرفته است. حاصل مطالعه نشان میدهد که هرکول در سفر خود از غرب (یونان) به شرق (هند)، با روایت وَجرَپانی کهنالگوی هندی تلفیق شده و تغییراتی در فرم و محتوای آن صورت میگیرد. وَجرَپانی مانند هرکول قهرمان و نابود کننده دشمنان نیست بلکه محافظ بودا است و با شمایلی خشن و داشتن وَجرَ، مخالفان و نافرمانان بودا را میترساند و رام میکند. در حالیکه هرکول با زحمات خودش و طی سفر و مأموریتهای سخت، طبیعت نافرمان خود را رام میکند و به آرامش و جاودانگی میرسد. در مجموع آیکون هرکول لمیده بر تخت، تبدیل به نیروانه یا بودای دراز کشیده بر تخت میشود. هر دو به کمال و آرامش ابدی و جاودانگی میرسند و در واقع، نیروانه ماحصل سفر نمادین هرکول لمیده بر تخت (از لحاظ فرم و نه محتوا) به شرق (هند) است.https://rahpooye.soore.ac.ir/article_720522_f63cd3e0a0afc36d8cd0390c731432b2.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120Studying the works of Habib Mohammadi in comparison with the works of impressionist paintersمطالعه آثار حبیب محمدی در تطبیق با آثار نقاشان امپرسیونیست193072169110.22034/ra.2025.2008000.1377FAزهراخوش نقشکارشناسی ارشد پژوهش هنر، گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.0009-0009-2605-8925سارهملکیدکتری پژوهش هنر، گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.0000-0002-9074-426Xشکوفهساتیاروندکارشناسی ارشد پژوهش هنر، گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.Journal Article20231209Impressionism was the artistic style of a large group of free-thinking and innovative French painters in the second half of the 19th century, which soon became popular. This method is based on showing the artist's direct perception of ephemeral visions by using decomposed and radiant colors to show the vibrations of sunlight. The basis of this method is to pay attention to the instantaneous and random effect of the scenery, that is, to perceive the moment. In this method, the scholastic principles of precise design, lighting shadow, technical perspective, and balanced and architectural composition are not observed. The core of the Impressionism movement was formed by Monet, Renoir, Cicely, and later a group of young and independent French painters: Morisot joined this group. In Iran, the beginning of this style of painting was noticed by Iranian artists from the Nasrid period onwards. Kamal al-Molk was one of the first to go to Europe to study this art. He spent nearly 4 years in the museums of Florence, Rome and Paris painting the works of painters such as Rembrandt and Tissin and in Paris he met Fontaine Latour and after learning the necessary lessons he returned to Iran. They replaced the Iranian painting style and this is how the modern painting style was opened to Iran. With the expansion of modern painting style, it was recognized as an art style in Iran and also with Seyyed Mohammad Habib Mohammadi's trip to Baku and Tsarist Russia with his family and studying in the universities of that empire. Habib Mohammadi is the master of his work. He studied this art in the field of sculpture under the supervision of famous artists. Even though Habib Mohammadi has been nicknamed the "forgotten painter", he is still called with indescribable respect and passion in Gilan, and he was even called "the father of modern painting in Iran and Gilan". The basis of the Impressionism method is to pay attention to the immediate and random effects of landscapes, that is, to deal with "being" to "appearance". In terms of intellectual principles, it is considered to be the continuation and result of the style of realism, and the impressionist painters maintained the same opinion. According to the investigations and the mentioned features, the similarity of Habib Mohammadi's paintings with the working style of impressionist painters is quite evident. The aim of the current research is to know the similarities of the components of Mohammadi's painting in comparison and comparison with the components of the works of impressionist painters. And through this study, it becomes clear that the application of the components of the works of impressionist painters has the necessary precision to introduce the characteristics of Habib Mohammadi's works or not. In order to achieve the goals of the upcoming article, the aspects of similarities and differences of the concept and visual structure of the impressionism style in the works of impressionist painters and the works of Habib Mohammadi have been evaluated. The research method in this article is descriptive-analytical with a comparative approach and the use of library sources and field interviews with Aydin Aghdashlou and Hossein Mahjoubi as students and fellow citizens of Habib Mohammadi in order to get to know more about their point of view by using them and the concept of impressionism and how to show light and The shadow and the momentary moment have been evaluated in the works of impressionist painters and Habib Mohammadi's paintings. The results of the present research also indicate that Habib Mohammadi's paintings have many similarities with some of the famous impressionist painters, in addition to cultural and geographical differences, which Habib Mohammadi's works have not been studied from this point of view. The results of the investigations carried out in the current research show that the characteristics of the impressionism style in the paintings of Habib Mohammadi and the works of impressionist painters are not completely the same, and despite the differences, they have many similarities and common elements such as light, shadow, movement, volume, Color, the recording of fleeting moments and most of the elements of the impressionism style can be seen in the paintings of Habib Mohammadi and the works of impressionist painters, and in some of the works they match. The paintings of Habib Mohammadi are based on Eastern philosophy and thought. , Iranian and native culture created, has differences from the works of impressionist painters that were created based on European philosophy and thought. Among these differences in the way of covering the clothes and the event and the subjects and the geographical range of the place of residence discussed in the works of the painters of two thoughts, which is quite evident. The mentioned reasons are the difference and similarities between the works of impressionist painters and the works of Habib Mohammadi. A significant point that has been overlooked by other researchers and has not been mentioned is the great similarity of Habib Mohammadi's works with the elements of impressionist painters, which is evident in some of the works that are completely elements of impressionism style painting.امپرسیونیسم مهمترین پدیده هنر اروپایی در سده نوزدهم و نخستین جنبش نقاشی سبکهاست. اساس شیوه امپرسیونیسم توجه به اثر آنی و تصادفی مناظر، یعنی پرداختن از «بود» به «نمود» است. این سبک، به حقیقت دنباله و نتیجه سبک رئالیسم بهشمار میرود. حبیب محمدی ازجمله پیشکسوتان نقاشی مدرن در ایران است. وی از فضاهای شهری، روستایی و طبیعت در ترسیم آثار خود بهره جسته است. در این راستا قرابت و نزدیکی ازلحاظ مبادی فکری و تجسمی، بین آثار حبیب محمدی بهعنوان پیشرو نقاشی مدرنِ ایران با سبک کاری نقاشان امپرسیونیست دیده میشود. هدف پژوهش حاضر شناخت تشابههای مؤلفههای نقاشی حبیب محمدی در تطبیق با مؤلفههای آثار نقاشان امپرسیونیست است. ازاینرو پژوهش حاضر با توجه به مؤلفههای مشترک در آثار نقاشان امپرسیونیست و آثار حبیب محمدی در پی پاسخ به این پرسش است که وجوه تشابه و تمایز در آثار حبیب محمدی و نقاشان امپرسیونیست کدماند و علل این وجوه چیست؟ روش جمعآوری اطلاعات کتابخانهای، میدانی و شیوه پژوهش آن توصیفی- تحلیلی با رویکرد تطبیقی است. یافتههای پژوهش، حاکی از آن است که هر یک از مؤلفههای مشخصشده در عین تفاوت نشاندهنده شباهت زیاد آثار نقاشی حبیب محمدی با برخی از آثار نقاشان امپرسیونیست است. نکته حائز اهمیت در این پژوهش پرداختن مؤلفههای مغفولمانده در آثار حبیب محمدی بهعنوان نقاش پیشگام سبک هنر مدرن در عصر معاصر است که بر اندیشهها و آثار هنرمندان مشهوری چون بهمن محصص بیتأثیر نبوده است.https://rahpooye.soore.ac.ir/article_721691_5cf8dfa4461bc1f3ff9d0166f22e09ad.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120Analyzing the reproduction of Ashura's narrative of the book of Abu Mekhnaf in the tile painting of Moaven al-Molk Tekyeh, regarding the critical discourse analysis of Norman Faircloughتحلیل بازتولید روایتعاشورا از مقتل ابومخنف در کاشینگاره تکیه معاونالملک با استناد به تحلیلگفتمانانتقادی نورمن فرکلاف314371906010.22034/ra.2024.2015473.1413FAسیدرضاحسینیدانشجوی دکتری پژوهش هنر، دانشکده هنر دانشگاه شاهد، تهران، ایران.0000-0001-5520-2484سمانهسراجدانشیار، گروه نقاشی، دانشکده هنر، دانشگاه شاهد، تهران، ایران.0009-0004-4698-0398Journal Article20240128In the framework of the critical discourse analysis approach, this article examines the narrative of Ashura in the tile painting of Moaven al-Molk Tekyeh. It considers visual language as a form of social action and aims to reveal the ideological underpinnings of the Ashura discourse derived from Abu Mekhnaf's book, which has been naturalized and restructured over time. This approach creates a new context for analyzing the tile painting, allowing the process of changing the structure of the source and target texts to be examined from a new perspective.<br />The history of analyzing Shiite thought in art shows that the visual reproduction of Shiite elements—combining beliefs, myths, and historical events—has been an effective means of exchanging human thoughts. These effects, especially in the narrative of Ashura, a turning point in the interaction of Shiite culture and thought in Qajar society, have always been considered a form of social action. However, like other social dimensions, the visual reproduction of this narrative, especially in the tile paintings of religious places like Moaven al-Molk Tekyeh, has been naturalized over time due to societal power and ideology, causing changes in its structure.<br />Since the reproduction of the Ashura narrative from authentic historical books is primarily derived from Abu Mekhnaf's narration, which is the earliest account of Ashura, it will be studied as the source text in this research. The visual reproduction of the Ashura tile painting of Moaven al-Molk Tekyeh, analyzed as the target text, seems to be a mental activity consciously influenced by the societal ideological orientations of the artist. Therefore, the approach of critical discourse analysis, according to Fairclough's perspectives, offers a critical and fresh look at the visual reproduction of the Ashura narrative in the tile painting, considered as a social phenomenon. This approach will reveal the ideological positions of the society on this tile painting and help develop a focused and methodical framework based on three levels: description, interpretation, and explanation.<br />The purpose of this research is to analyze the factors influencing the structural changes and the process of reproducing the Ashura narrative concerning Abu Mekhnaf's book in the tile painting of Moaven al-Molk Tekyeh, and to identify the effective discourses in altering the narrative's structure. The research questions are: What are the influential factors in changing the structure and the process of reproducing the Ashura narrative in the book of Abu Mekhnaf in the tile painting of Moaven al-Molk Tekyeh? Based on Norman Fairclough's critical discourse theory, what discourses have changed the structure of this narrative?<br />The descriptive-analytical research method is based on critical content analysis. The information-gathering tools include new forms, observation, and scanning. For the target community, one mosaic of the Ashura story has been selected from a total of twelve mosaics at Zainabieh Takya Maawanul Molk. The findings have been analyzed according to Fairclough's three-level framework. The results indicate that issues such as the emotional approach to the narrative's reproduction, specific political ideologies of the Qajar era, instrumental and material use of the narrative, and the presence of uncritical listeners (artists) have caused structural changes in the narrative. Any change, transformation, lexical and grammatical choice, persistence, and penmanship can be considered ideological, reflecting power relations and cultural and social factors.<br />The critical discourse of Hazrat Abbas in the form of a tile painting and its pictorial reproduction, illustrating the behavior of Imam Hossein and Hazrat Abbas, shows the negative consequences of colonialism on society. The artist created this narrative by selecting structures and pictorial elements, using symbolism and implied meanings, and referring to Shiite heroes. The frequency of these reproductions and selections in the narrative and symbols indicates changes over time.<br />The necessity of this research lies in the fact that significant themes like Ashura in Shiite thought can continuously evolve under political and social influences, potentially deviating from the main theme. Acquiring knowledge in this field will increase awareness and understanding of this narrative. Since many researchers and artists strive to reproduce this narrative, attention to its changes is crucial in such an environment.این مقاله در چارچوب رویکرد تحلیلگفتمانانتقادی بهمطالعه تحلیل روایتعاشورا کاشینگاره تکیه معاونالملک میپردازد که زبان تجسمی را بهمثابه شکلی از کنش اجتماعی در نظر میگیرد و میکوشد زیربناهای ایدئولوژیک گفتمانعاشورا برگرفته از مقتل ابومخنف را که براثر مرور زمان طبیعیشده و تغییرساختار یافته را آشکارکند. تعامل این رویکرد در تحلیل کاشینگاره، زمینه جدیدی را بهوجود میآورد که در آن، فرآیند تغییرساختار متن مبدأ و متن مقصد میتواند با نگاهی نو مورد تحلیل قرارگیرد. هدف از این پژوهش، تحلیل عوامل مؤثر در تغییرساختار و فرآیند بازتولید روایتعاشورا با توجه به مقتل ابومخنف در کاشینگاره تکیه معاونالملک و شناخت گفتمانهای مؤثر در تغییرساختار روایتعاشورا خواهدبود. اینپژوهش درصدد یافتن پاسخ به این سؤالات است: عوامل تأثیرگذار در تغییرساختار و فرایند بازتولید روایتعاشورا از مقتل ابومخنف در کاشینگاره تکیه معاونالملک کدماند؟ براساس نظریه گفتمانانتقادیفرکلاف تغییر چه گفتمانهایی منجر به تغییرساختارهای این روایتشده است؟ روشپژوهش، تحلیلمحتوایانتقادی و از نوع پژوهشهای کیفی است. ابزار گردآوریاطلاعات، فیش، مشاهده و ابزار پویشگرینوین است. نتایج نشان میدهد که مسائلی مانند برخورد احساسی و عاطفی با بازتولید روایت و یا حتی ایدئولوژیهای سیاسی خاص دورانقاجار، استفاده ابزاری و مادی از این روایت، وجود مستمعینی (هنرمند) بدون تعقلوتفحص، موجب تغییرساختار این روایت شد. هرگونه تغییر، تبدیل، انتخاب واژگانی و دستوری، جاافتادگی و سهوالقلمی را میتوان ایدئولوژیک تلقی کرد، که در آن ساختارهای روابط قدرت و عواملفرهنگی و اجتماعی قابلمشاهده است.https://rahpooye.soore.ac.ir/article_719060_270432a545fdd484dbdca629438335af.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120The role of physical space (place) in the creation of fantasy animation films of the transcendental type (Case examples of Caroline and Monster House animations)نقشِ فضای فیزیکی (مکان) در خلقِ فیلمهای انیمیشنِ فانتزی از نوعِ ماورایی با تمرکز بر انیمیشنهای کورولاین و خانهی هیولا455471960010.22034/ra.2025.2023233.1439FAعاطفهنجیبکارشناس ارشد انیمیشن، گروه انیمیشن، دانشکده پردیس فارابی، دانشگاه هنر ایران، تهران، ایران.0009-0006-3014-7216بهرامجلالی پوراستادیار گروه تئاتر، دانشکده سینما-تئاتر، دانشگاه هنر ایران، تهران، ایران.0009-0003-5094-0535Journal Article20240314Until now, the majority of studies related to fantasy have focused on the creation of specific and engaging events or personas, with less emphasis on the role of physical space, especially in the creation and visualization of fantasy in animated films. This research examines the role and function of spatial symbols in creating and visualizing fantasy in supernatural animated films.<br />In this research, we analyze the decorative and interactive roles of physical space (location) in the examined works. Semiotics is employed as a tool to identify spatial signs and the fundamentals of visual literacy to achieve a deeper understanding of the surrounding world. Visual signs encompass elements such as line, shape, color, and texture; through their interaction, they create visible images. In animation, the significance of these signs and the design of their combinations to evoke specific emotions in the viewer are particularly emphasized.<br />The primary focus of this study is on the signs and shapes present in the backgrounds of the films and their relevance to the subject matter. By identifying these visual signs and examining their relationship to fantasy creation techniques, we explore the use of these forms in establishing a specific space and animation environment. This research adopts a descriptive-analytical approach, utilizing library sources and semiotic analysis of the selected films.<br />To investigate this issue, two animated films, “Coraline” and “Monster House,” which effectively utilize physical space in their creation of fantasy, are analyzed as case studies. In “Coraline,” the home environment serves as a backdrop for storytelling. The plot revolves around a young girl who migrates to a new location with her family, settling into a house that harbors secrets. The setting possesses traits that the protagonist discovers, revealing the magic and mysteries of the house, ultimately shaping her destiny through the adventures she embarks upon within the new home.<br />The unique characteristics of this house, such as a small door on one of the walls that acts as a portal to a parallel world, along with the visual elements employed in this animation—such as the cracked texture of Coraline’s room ceiling, the old wooden texture of the house, the wall colors, lighting, and shapes used in the interior and exterior spaces—create a fantastical atmosphere. As Coraline explores different areas of her new home, the audience becomes acquainted with the physical space of the story, as well as the character and interests of the protagonist. Therefore, the presence of distinctive visual features in the space underscores the importance of analyzing this work.<br />In “Monster House,” the character of the monster is represented by a house that possesses human-like qualities, with three children deciding to confront and defeat it, facing various challenges along the way. The signs in this animation are directly relevant to the subject matter; for instance, the house functions as the monster’s mouth, its tongue is a red carpet, and so forth. A key feature of this animation is the anthropomorphization of the house; not only does its appearance resemble a human face, but its interior also mimics the human body. Sharp forms, cubes, and circles contribute to the portrayal of the monster’s true appearance.<br />All visual elements are designed so that the characters realize the house’s human-like qualities upon entering. Additionally, the human behaviors of this character lend credibility to the living nature of the monster house, making its role as a character in the story vital for the creation of fantasy, thus warranting further examination.<br />To explore this matter, a descriptive and analytical approach is employed, analyzing the visual signs present in the location of the narrative events and their role in creating fantasy. The findings indicate the significant role of visual signs in preparing the audience for the forthcoming events in both films. Furthermore, it is observed that visual signs, in the form of specific visual frameworks, generate distinct atmospheres (such as fear) and meanings within the film sequences.<br />Moreover, the story is framed around the capabilities that the location provides to the characters, reflecting both their inherent characteristics and those of the characters themselves. Considering a location as a character and employing principles of fantasy, exaggeration, and transformation can leverage the space for storytelling. The house, in the human psyche, is often static and less frequently utilized as a narrative character. Visual signs can indicate the presence of a character in future scenes or highlight their traits. Additionally, the forms used in character and space design share common shapes that create visual coherence in line with the story’s concept and shape the film’s genre.<br />By utilizing visual signs and geometric shapes, one can create techniques for fantasy, while also visually enhancing the narrative progression. In essence, visual signs facilitate the visual alignment of the space and characters. The integration of these elements and signs, typically accompanied by change and transformation, renders the fantasy of the story more believable.تاکنون اغلبِ مطالعاتِ مربوط به فانتزی بر خلق رویدادها یا پرسوناژهای خاص و جذاب متمرکز بوده و در آنها موضوعِ فضای فیزیکی، بهویژه نقش آن در خلقِ فانتزی کمتر بررسی شده است. این مقاله نقش و کارکردِ نشانهای مکان را در آفرینش و بصریسازیِ فانتزی در فیلمهای انیمیشنِ ماورایی مطالعه میکند. برای این امر، دو فیلم انیمیشن کورولاین و خانهی هیولا که در خلق فانتزی آنها فضای فیزیکی نقشی موثر داشته، بهعنوان نمونهی مطالعاتی تجزیهوتحلیل شده است. در فیلمِ اول فضای خانه بهعنوان بستری برای خلق داستان و در فیلم دوم، خانه در قالب یکی از پرسوناژهای اصلیِ داستان ظاهر میشود. برای واکاوی این مسئله، از رویکرد توصیفی و تحلیلی استفاده، و نشانههای تصویری موجود در مکانِ وقوع رویدادهای داستان، و نقش آنها در خلق فانتزی مطالعه شده است. نتایج حاصل از بررسی نقشِ موثرِ نشانههای تصویری را در آمادهسازی ذهن مخاطب برای رویارویی با اتفاقات پیش رو در هر دو فیلم نشان داد. همچنین، ملاحظه گردید که نشانههای تصویری در قالبِ فرمِ بصریِ مشخصی، با قرارگیری در فضا، حسوحال (مانند حس ترس) و مفهومی مشخص را در سکانسهای فیلمها ایجاد میکنند. نشانههای تصویری، میتوانند با حضور در فضا، معرف حضور یک پرسوناژ در صحنههای بعدی و یا بیانگر خصوصیات وی باشند. همچنین فرمهایی که در طراحی پرسوناژها و فضا استفاده میشود با داشتن شکلی مشترک، باعث ایجاد انسجام بصری در راستای مفهوم داستان و شکل دادن به ژانر فیلم میشوند. در واقع نشانههای بصری باعث تطبیق بصری فضا و پرسوناژها با هم میشوند. تلفیق این عناصر و نشانهها که عموماً با تغییر و دگردیسی همراه است، فانتزی داستان را باورپذیرتر میکند.https://rahpooye.soore.ac.ir/article_719600_f773a4bd07e540c7b18b7a7e6f33173c.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120Intersemiotic analysis of photography: an introduction to intratextual and extratextual indicatorتحلیل بینانشانهای عکاسی: مقدمهای بر شاخصهای درون متنی و برون متنی556571959910.22034/ra.2025.2017295.1419FAصدفموذنیکارشناسی ارشد، گروه عکاسی، دانشکده هنر، دانشگاه سوره، تهران، ایران.0009-0006-7486-2684محمدحسن پوراستادیار، گروه صنایع دستی، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان ، زاهدان ، ایران.0000-0002-1087-3994Journal Article20231214Semiotics, which in its basic definition means the systematic study of sign processes (semiosis) and meaning-making, It includes sciences that consist of signs, so that it can deal with the original meaning as well as the semantic relationships between different signs while deciphering. According to this definition, we can place language and image under the set of semiotics, what they both have in common is their "sign". on the other hand, photos as a subset of visual signs are included in our semiotics definition. as a result, language or pictures can be examined and analyzed in the science of semiotics.but if we want to advance in this study and examine the relationship between these two semiotic sciences, we need an analysis beyond their semiotics examination, because the science of semiotics examines the relationship between different signs only under the condition that their signs are defined within a single sign system. on the other hand Interdisciplinary studies have a special place and importance due to the comprehensiveness of the study community and also the connection it establishes between different sciences to realize a single goal. The result of this type of study is more reliable than its one-dimensional investigation and has a higher reference value, because by researching various aspects of a work, seeking to prove or reject an approach, obtaining deep and detailed information about the subject or even in some cases, we seek to ensure the result of its one-dimensional studies. For this reason, in this research, in order to achieve a correct and comprehensive analysis of the photo, we go beyond the sign system that has been the focus of photo reading for years to achievea precise linguistic analysis simultaneously studying the written text alongside visual text. Examination the relationship between two different semiotic systems (provided that both systems consist of signs) is the responsibility of “intersemiotic” analysis. cognitive intersemiotic translation as the circulation of meaning between different systems is a method of communication between semiotic resources, including language and image. In this type of translation, we deal with the meaning making and connection between these two systems by examining the signs in the language and the picture at the same time. this topic has a special place in interdisciplinarity studies. this research intends to analyze texts by relying on intersemiotic translation, where photos and text are presented simultaneously to present a specific approach.<br />The aim of this research is the linguistic analysis of photographs, and the approach we have taken to study between systems in this research is "intersemiotic translation". using intersemiotic studies, we analyze photography from the perspective of linguistics, and finally present the relationships that exist between written and visual signs in the work and give meaning to it. In order to make the subject more understandable, after a complete review of intersemiotic translation and introduction of its uses, we will analyze a sample of the book Looking at Photos by John Szarkowski. This book has been chosen as a reviewable example for several reasons: the most important reason is that in this book, text and photos are equally important, which is the best choice for a correct intersemiotic analysis; In this book, Szarkowski analyzes and examines the works of photographers from all over the world, the remarkable thing is that this book contains selected works exhibited in the Museum of Modern Art in New York and all the works are worth analyzing and studying. On the other hand, Sarkovsky has not only used the photos of well-known photographers to select these works, but he has put together a workable collection of works by photographers from all over the world, through which we see valuable photos of different genres. All these and other points that we discuss in detail in the text are the reason for choosing this book as an analyzable example for intersemiotic translation. In order to provide intersemiotic translation, it is necessary to introduce indicators for correct analysis. The point that is relevant in the selection of these indicators and it was mentioned before is that these indicators simultaneously examine textual and visual signs and even side signs outside of the text and image and a review Comprehensive to provide an insightful analysis. In general, this article deals with intersemiotic analysis between text and photo, but this is only a part of the application of intersemiotic translation. Intersemiotic analysis is possible in any field and has a comprehensive function, even in daily life and improving teaching methods. And all these points are the reason for examining intersemiotic translation, which we discuss in detail in the text.عکس به عنوان زیرمجموعهای از نشانههای تصویری و زبان نوشتاری نیز بهعنوان بخشی از سیستم نشانهای، در یک نظام مشترک قرار میگیرند که وجه اشتراکشان "نشانه" بودن آنهاست. ترجمه بینانشانهای بهعنوان گردش معنا بین نظامهای مختلف روشی ارتباطی بین منابع نشانهشناختی، از جمله زبان و تصویر است. مقاله پیش رو نیز با استفاده از آموزههای بینانشانهای، عکاسی را از منظر صورت و فرم، مضمون و ارتباط فرامتنی با تاریخ و فرهنگ، مورد تحلیل و بررسی قرار داده و روابط میان نشانههای نوشتاری و تصویری درون اثر را به صورت درون متنی و فرامتنی مورد کاوش قرار میدهد. هدف پژوهش حاضر، ارائه تحلیلی زبانشناسانه از دیدگاه بینانشانهای در عکاسی، و تعمیم قواعد و ساختارهای حاکم در نشانهی زبانی بر نشانههای تصویری، برای دستیافتن به تحلیلی جامع است. در این رویکرد جهت تحلیل بیانشانهای عکاسی شاخصههایی طرح میشود و در ادامه با به کارگیری این شاخصهها یکی از عکسهای کتاب نگاهی به عکسها اثر جان سارکوفسکی به روش توصیفی-تحلیلی، مورد مطالعه قرار میگیرد. در نهایت "روش بینانشانهای" بهعنوان یک روش بررسی قابلاتکا در زمینهی تحلیل بین نظامهای مختلف معرفی میشود که با بررسی همزمان تصویر، متون و سایر زمینههای جانبی، مخاطب را در فهم همهجانبهی عکسها یاری میدهد.https://rahpooye.soore.ac.ir/article_719599_0d3393190271889f31a1ebe448340955.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120Mystical Maqam Ayenegi in Behzad's paintingمقام عرفانی آینگی در نگاره بهزاد677771960110.22034/ra.2025.2025841.1442FAنفیسهمصطفویدانشیار دانشکده چندرسانه ای، دانشگاه هنر اسلامی تبریز، تبریز، ایران.0000-0002-8964-3787آزادهیعقوب زادهاستادیار دانشکده فرش، دانشگاه هنر اسلامی تبریز، تبریز، ایران.Journal Article20240618The narration of the allegorical story "Roman and Chinese Painters' Debate" by famous mystics and wisdom such as Ibn Arabi, Ghazali, Nizami, and Molavi shows its meta-literary value.<br />In this story, to find out whether Chinese or Roman painting is better, a competition was designed so that Chinese and Roman painters each draw wall paintings on one of the two arches so that they can be compared, and there is a curtain between them. so that they do not copy each other. Both groups finished the work in a short time and pulled the curtain aside. The two murals were the same in pattern and color, and the king in the middle of these two groups carefully looked at them and did not recognize them from each other. Therefore, he threw a curtain between the two paintings. Since the Chinese had only polished and mirrored the wall, when the curtain was blocked, their patterns disappeared and the truth was revealed that the carvings were the work of the Romans. The main message of the story of the debate in the military story is the acceptance debate. The characteristic of the mirror is passivity and acceptance of images and motifs without the will or intention to interfere. The Chinese patterns reflected more and more beautifully on the polished surface of the opposite arch. In this story, the Chinese painter represents an artist whose art is a reflection and mirror of heavenly motifs and fixed and true meanings, and the Roman painter represents the angels, the painter of heaven and kingdom images. This means that if a person implements the qualities of angels and angels, he will become more beautiful than them and will find a higher position.<br />The best work of art is a creation in which the imagination of the artist; becomes a mirror of the inspiration of God and angels. In this case, the imagination of the artist; is like a mirror in which the motifs of Eden are reflected. according to Ibn Arabi, being a mirror of Eden requires effort so that the mind could be cleansed of satanic obsessions and carnal interpretations. In this case, the concept of time and place can get represented in art in its eternal form, and the elements of art become symbols and symbols of images of Eden and supreme truths<br />Kamal-al din Behzad (1455/60 – 1535) who illustrated this story, used visual elements and semiotic rules of painting to offer a perfect presentation and illustration of its content. He showed the position of being a mirror of divine inspirations (ayenegi) in two arches with the same motifs. By writing a verse of Nizami and drawing the king and his retinue in a state of surprise, staring at these two similar arcs, he has emphasized the main meaning.<br />In this story, the Chinese painter stands for an artist whose art is a reflection and mirror of the motifs of Eden, and the Roman painter stands for the divine angels, the painters of Eden. The garden in Behzad's painting is a symbol of heaven (Eden).<br />In this picture, pleasant weather and a bright room without heat and warmth are depicted with a bit of cloud in the pink room. A calm atmosphere, far from crowds and worldly noise, is illustrated by two figures in the garden. Love and marriage are represented by a man and a woman facing each other. Youth and happiness in the Garden of Eden are represented by two young figures in yellow and orange clothing. The meaning of pleasure in connection with divine knowledge is illustrated by the image of a book in the man's hand. In this image, the trees are represented in a triangular shape, a simile is a sign of indivisible unity; that is, in this space, plurality is linked to the unity and harmony of the parts. The spiritual life in the freshness of the cedar trees and the concept of returning to the former paradise in the circular movement of the birds are encoded.<br />Other components of this painting, including poetry, have been arranged in order to emphasize the content of the painting. The king's surprise is depicted with the symbol of a finger over the mouth. The continuation of the gaze of the king and his entourage, who are standing on both sides of him with closed hands in a respectful posture, directs the attention of the audience to the main center and the center of gravity of the picture, i.e. two similar arches.نقل حکایت «مناظره نقاشان رومی و چینی» توسط مشاهیر عرفان و حکمت، حاکی از ارزش فراادبی آن است. بهزاد که به مصورسازی این حکایت همت گماشته، از قواعد نشانهشناختی برای تمامیت نمایش رموز حکایت عرفانی بهره گرفته و هدف این پژوهش، کشف سویههای عرفانی نگاره براساس مبانی نمادشناسی و همسو با عرفان ابن عربی است. به عبارتی مسئله محوری تحقیق که با روش تحلیل زمینهای انجام شد، بدین قرار است که نمادشناسی عناصر بصری نگاره همراستا با مبانی عرفان ابن عربی به چه نحو خواهد بود؟<br />مضمون اصلی این نگاره، مقام آینگی یا اشراق هنرمند با الهامات ربّانی است که با نقوش یکسان دو طاق نشان داده شده و با تشعیر یک بیت از نظامی و نگاه خیره و متعجب پادشاه و اطرافیان به سمت این دو طاق یکسان، مؤکد شده است. نقاش رومی، نماینده جبرئیل، مصوّر صور ملکوتی و نقاش چینی، نماینده هنرمند در مقام آینگی صور ملکوتی است. ملکوت با تصویر درختان سدر و هوای مطبوع با نمایش یک تکه ابر در فضای صورتی و آرامش بدون ازدحام با ترسیم دو پیکره نمایش داده شده است. ترسیم پیکره زن و مردی جوان روبروی یکدیگر برای تجسم عشق و جوانی در بهشت و انتخاب رنگهای شادِ صورتی، زرد و نارنجی برای ترسیم لذت و سرور و بکارگیری رنگ لاجوردی لباسها، نماد معرفتی است که با کتاب در دست مرد تکمیل شده است. حیات معنوی در طراوت درختان و هماهنگی اجزاء در ترکیب مثلثی آن و مفهوم بازگشت انسانِ رستگار به جایگاه اولی در حرکت دایرهوار پرندگان رمزگذاری شده است.https://rahpooye.soore.ac.ir/article_719601_b8a78c404ee7b28625ed2e5a2597f50a.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99837420250120The Aesthetic and Semantic Aspects of the Peacock Images as Palettes in Safavid Carpets Medallion Patternsتحلیل ابعاد زیباییشناختی و معناشناختی نقش طاووس بهمثابه مستوره (پالت) رنگی در قالی ترنج دار دورة صفوی799072052410.22034/ra.2025.2028783.1447FAسمانهکاکاونددانشیار گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران.0000-0002-8768-6206سعیدهمحمدیدانشجوی کارشناسی ارشد گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران.0009-0009-0148-9665Journal Article20240613Although the handwoven carpets from the Shah Abbas I and Shah Abbas II eras are well-known, investigating textiles during Shah Tahmasb's reign raises questions among researchers seeking answers to what and why. Some realistic and surrealistic patterns on the backgrounds of the carpets from the first half of the 10th century AH are true instances of wonder painting. Such patterns range from bodiless heads on the Vaq (talking tree) image to exotic animal motifs like Kailin and mythical figures of Simorgh and dragon. Some carpets, such as the one examined in this study, lack the wonder painting motifs. However, the harmonious and symmetrical arrangement of twelve peacock images on this Safavid carpet makes it the only animal motif from this era that stands out. What is noteworthy here is that the bodies of these peacocks are decorated using all of the hues applied in other parts of the carpet. During the Safavid era, carpet design underwent changes determined by the king's reign and the managers of royal carpet workshops. The carpets from Shah Tahmasb's era were remarkable for their varied wonder painting motifs, including human, animal, floral, and geometric patterns. The diversity of carpet designs in the first half of the tenth century AH relates to the efforts of renowned carpet designers, who revealed their creativity in different forms. An example of such carpets, is the Anhalt medallion (Toranj) carpet with twelve peacocks in the background. The peacock design on the carpet appears to have not only decorative but also practical and conceptual purposes. In other words, the peacock images serve as the carpet's palettes. Therefore, the twelve peacocks on the carpet background function as an outline for its artistic design. Moreover, the peacock images have a semantic substance. This study aims not only to examine an authentic carpet from the Safavid era but also to discover the functional aspects of peacock images beyond its decorative function. The research questions are: what inspired the Safavid artists to convey all carpet hues on the peacock feathers? In other terms, how did the decorative function of the peacock images change into a "bird/palette" with a practical function? How does the peacock image on the Anhalt medallion carpet represent the era's flourishing worldviews and the potency of Shia discourse? This study is qualitative, and regarding its purpose, it is basic research. It uses a descriptive-analytical method and examines a carpet from the Shah Tahmasb era preserved in the museum. The study focuses on the functional and semantic features of the peacock images, basing its hypothesis on the idea that they serve as palettes. The data were collected using desk research and observing the carpet’s photos on The Metropolitan Museum of Art’s website. These studies and observations finally confirmed that the images of the Anhalt carpet's twelve peacocks represent palettes. Furthermore, the semantic analysis of images, both in terms of discovering the correlation between twelve peacocks and twelve Shia Imams and in terms of image analysis, led the researchers to recognize the significance of Shia ideology throughout the Safavid era. The carpet has a medallion pattern and no other visual features except the Arabesque swirls and minuscule floral design. It indicates that, in comparison to other carpets of the period, the Anhalt carpet lacks a diversity of patterns. As a result, in order to accentuate the twelve peacocks in accordance with the gestalt norms of image-background connections, the artist has combined the background and the Khatai floral motifs, paving the way for harmonization between the background and the peacocks. So, the twelve peacocks serve as palettes, allowing them to stand out more readily. The semantic examination of peacock motifs in the Safavid medallion carpet showed that it served as a sign of Shia traits, a legitimizing tool for the kingdom due to its relationship to the twelve Imams, and a symbol for the flourishing Shia theology and discourse. Regarding the symbolism of the twelve peacocks on the Anhalt carpet, it refers to Shia ideas during the Safavid era. Such patterns demonstrate an ambition to define monarchs like Shah Ismail I and Shah Tahmasb as Imam Mahdi's representatives (may God hasten his reappearance).<br />In the rivalry between the Safavid Shia and the Ottoman Sunni discourses, each attempted to legitimize its ideas and authority foundations, and both saw artworks and cultural goods as a useful tool with long-term efficiency. Regarding this, the Safavid monarchy was trying to convey its idea of legitimacy through artistic products such as carpets. As a result, throughout the Safavid era, the peacock image served as a symbol of uplifting Shia theology and discourse, as well as a tool for Safavid rulers to demonstrate the legitimacy of the ruling system. Needless to say, peacocks were symbols of monarchy in various cultures. As a result, the image of a peacock symbolizes both Shia religion and the features of Safavid kingdoms.طراحی قالی در عصر صفوی متناسب بازمان حکومت هر یک از پادشاهان و سرپرستان کارگاههای سلطنتی دچار تحول شد. قالیهای عصر شاهتهماسب صفوی نیز شاخصههای منحصربهفردی داشته و تنوع عجایب نگاریها، نقوش انسانی، جانوری، گیاهی، تجریدی و هندسی چشمگیر است. گوناگونی نقوش فرش در نیمة نخست سدة دهم مربوط به حضور هنرمندان صاحبنام در عرصة طراحی بوده و نشانههای نبوغ ایشان در قالبهای متنوعی جلوهگر شده؛ از آن میان جانمایی دوازده طاووس درزمینة قالی ترنج دار آنهالت است. به نظر میرسد طاووسهای قالی آنهالت علاوه بر وجه تزیینی، بعد کارکردی و معنایی نیز داشتهاند؛ به بیانی دیگر طاووسها بهمثابه مستوره (پالت رنگی) نقش دارند. اصول سازماندهی هنری با تکیهبر دوازده طاووس موجود در متن قالی قابلدرک است. علاوه بر آن نقش طاووس، بعد معنایی نیز دارد. هدف از انجام تحقیق، علاوه بر مطالعة دقیق یکی از بافتههای اصیل عصر شاهتهماسب صفوی، کشف لایة کارکردی نقش طاووس، فراتر از وجه تزیینی پرنده است. چه عاملی هنرمند را ترغیب نموده تا تمامی رنگهای موجود در قالی را بر پروبال طاووس قرار دهد؟ بهعبارتیدیگر علت تغییر جایگاه طاووس زیبا (بعد تزیینی نقش پرنده) به پرنده- مستوره (بعد کارکردی) چگونه قابل تبیین است؟ نقش طاووس در قالی ترنج دار آنهالت چگونه رونق تفکر و جریان شیعی را منتقل میکند؟ پژوهش حاضر از نوع کیفی بوده و در دسته تحقیقات بنیادی قرار دارد. مقاله رویکردی توصیفی تحلیلی داشته و در بستر تاریخ عصر شاهتهماسب یک نمونه قالی موزهای را پژوهیده است. از ورای نقش طاووس، بعد کارکردی و معنایی پرنده را منظور نظر داشته و مفروض بر مستورگی طاووس فرضیه را بنانهاده است. اطلاعات قالی حاصل مطالعات کتابخانهای و مشاهدات اثر از طریق تارنمای موزة متروپولیتن نیویورک است. درنهایت مطالعات، منجر به حصول اطمینان از کارکرد طاووسهای دوازدهگانه قالی آنهالت بهمثابه مستوره (پالت) رنگی شد. از دیگر سو مطالعه بعد معنایی نقش طاووس از دو منظر تعداد دوازده نقش جانوری مرتبط بارونق شیعة اثنی عشری و تحلیل نقش یادشده، به رونق و اهمیت تفکر و جریان شیعی در عصر صفوی رهنمون ساخت.https://rahpooye.soore.ac.ir/article_720524_5c96f7fdf803ee66662bb369371d140a.pdf