دانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222Exploring the Methodological Potential of Judith Butler's theories in Analyzing Photography's Critical Approach to the Construction of Realityظرفیتهای روششناختی آراء جودیت باتلر برای مطالعۀ رویکرد انتقادی عکاسی نسبت به برساختهگی واقعیت51573413410.22034/ra.2026.2057252.1541FAسودابهشایگاندانشجوی دکتری، گروه پژوهش هنر، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران0009-0000-8889-2848محمدخدادادی مترجمزادهدانشیار، گروه عکاسی، دانشکده هنرهای تجسمی، دانشگاه هنر ایران، تهران، ایران.0009-0000-4938-6918مهدیمقیمنژاداستادیار، گروه عکاسی، دانشکده هنرهای تجسمی، دانشگاه هنر ایران، تهران، ایران.0009-0001-9501-2172Journal Article20250406Photography has always maintained a complex and contested relationship with reality. While it has traditionally been understood as a transparent and objective representation of the world, many theorists and artists have argued that photography actively participates in constructing social reality rather than merely reflecting it. Critical theorists such as Allan Sekula, Victor Burgin, and Walter Benjamin have emphasized that photographic images are embedded within ideological and discursive structures. Consequently, photography can function not only as a mechanism for reproducing dominant realities but also as a medium for challenging and destabilizing them. Despite the importance of this issue, there has been no coherent methodological framework for analyzing how photography critiques the constructed nature of reality. Although photography theorists such as Andy Grundberg, Steve Edwards, and Sally Miller have addressed this topic in scattered discussions, their approaches remain fragmented and lack systematic organization. This study therefore seeks to develop a coherent methodological framework for examining photography’s critical engagement with socially constructed realities. The research adopts a qualitative and developmental approach using analytical-comparative methods. First, the study examines the writings of Grundberg, Edwards, and Miller in order to identify the principal strategies through which photography challenges dominant constructions of reality. Through comparative analysis of their theoretical discussions and photographic examples, three major strategies are extracted: 1. Masking and Unmasking 2. Distanciation (Alienation Effect) 3. Alternative Construction. The first strategy, masking and unmasking, is most clearly articulated in Andy Grundberg’s analysis of postmodern photography. In this approach, photographers imitate or repeat dominant visual codes in exaggerated, artificial, or parodic ways in order to expose their constructed and ideological nature. Cindy Sherman’s staged self-portraits exemplify this strategy by reproducing stereotypical female roles derived from cinema while simultaneously revealing their artificiality. Through repetition accompanied by difference, exaggeration, and theatricality, such works undermine the presumed naturalness of gender and identity. The second strategy, distanciation, is closely related to Bertolt Brecht’s concept of the alienation effect. Here, photography foregrounds its own constructedness rather than concealing it. Staged scenes, visible photographic equipment, artificial settings, and manipulations of the image remind viewers that they are observing a representation rather than reality itself. Such techniques interrupt passive identification and encourage critical reflection on how reality is mediated. Photographers like Laurie Simmons and David Levinthal employ toys, miniatures, and cinematic aesthetics to blur the boundaries between reality and fiction, thereby exposing the instability of photographic realism. The third strategy, alternative construction, involves presenting marginalized subjects or alternative representations that challenge dominant discourses. Photography can reveal aspects of social reality that have been excluded, suppressed, or naturalized by hegemonic systems. By representing overlooked identities, spaces, and experiences, photographers construct alternative narratives capable of destabilizing accepted meanings. This strategy also includes reimagining familiar subjects in unfamiliar ways through visual disruption and defamiliarization. Although these three strategies can be identified within photographic theory, the study argues that photography theorists have not developed them into a unified methodology. To address this limitation, the research turns to the work of Judith Butler, whose theories of performativity offer a more systematic framework for understanding how constructed realities may be challenged. In Butler’s theory, gender is not a natural or essential identity but the result of repeated performative acts. Gender exists through continual repetition of socially regulated behaviors and discourses. Because these norms depend upon repetition, they are inherently unstable and open to disruption. Butler therefore identifies the possibility of subversion within repetition itself. From Butler’s writings, the study extracts three corresponding strategies for challenging constructed realities: 1. Subversive Repetition 2. Alternative Construction 3. Distanciation. Subversive repetition occurs when dominant norms are repeated with difference, parody, exaggeration, or displacement, exposing their instability and artificiality. Butler emphasizes that parody does not merely imitate an original; rather, it destabilizes the very notion of an authentic original. This concept closely parallels the masking and unmasking strategies identified in photography. Similarly, Butler’s discussion of exclusion and unintelligibility aligns with photography’s ability to represent marginalized identities and realities excluded from dominant discourse. By making visible what has been culturally erased or suppressed, photography can produce alternative constructions of reality that challenge hegemonic frameworks. Finally, Butler’s engagement with Brechtian theater highlights the importance of distanciation in critical practice. Distanciation disrupts the viewer’s identification with representation and reveals the mechanisms through which reality is constructed. This corresponds directly with photographic techniques that foreground staging, framing, and mediation. The comparative analysis demonstrates a significant overlap between Butler’s theoretical framework and the strategies already present in critical photography. The study concludes that Butler’s theories provide strong methodological capacities for analyzing photography’s critical relationship to constructed reality. By adapting Butler’s concepts to the specific formal and technical characteristics of photography, it becomes possible to formulate a coherent analytical methodology for evaluating how photographic works critique, destabilize, and reconstruct social realities.<br><br><span lang="AR-SA">این پژوهش در پی یافتن یک روششناسی روشن و منسجم برای تحلیل عملکرد انتقادی آثار عکاسی نسبت به برساختهگی واقعیت است. این مسئله تاکنون در نوشتههای نظریهپردازان عکاسی عمدتاً بهصورت پراکنده مطرح شده و فاقد چارچوبی جامع و منسجم بوده است. بدین منظور، با بهرهگیری از رویکرد کیفی و روش تحلیلی-تطبیقی، ابتدا دیدگاههای سه نظریهپرداز مهم عکاسی (اندی گراندبرگ، سالی میلر و استیو ادواردز) بررسی شد و از میان دیدگاهها و نمونههای مورد بررسی آنها، سه دسته راهکار برای به چالش کشیدن برساختهگیِ واقعیت توسط عکاسی شناسایی شد: نقابگذاری و نقاببرداری، فاصلهگذاری، و ارائۀ برساخت جایگزین. اما از آنجا که هیچیک از این نظریهپردازان بهتنهایی چارچوبی کامل و نظاممند ارائه ندادهاند، ترسیمِ یک روششناسیِ منسجم از این طریق امکانپذیر نبوده است. ازاینرو، نگارنده به نظریههای جودیت باتلر در حوزۀ فمینیسم و نظریه انتقادی رجوع کرده و از میان دیدگاههای او راهبردهایی برای به چالش کشیدن برساختهگیِ واقعیت را استخراج نمود: تکرارهای واژگونکننده، فاصلهگذاری و برساخت جایگزین. مطالعۀ تطبیقی میان این راهبردها و راهکارهای مطرحشده توسط نظریهپردازان عکاسی، نشان داد که تطابق و همپوشانی قابلتوجهی میان آنها وجود دارد. براساسِ یافتههای پژوهش، این همپوشانی میتواند مبنایی برای طراحی یک روششناسی کاربردی و منسجم باشد که در مطالعۀ چگونگیِ نقد برساختهگیِ واقعیت توسط عکاسی به کار گرفته شود. در نتیجه، دیدگاه باتلر، با تطبیق بر ویژگیهای خاص رسانۀ عکاسی، میتواند مبنای تدوین سنجهای برای ارزیابی رویکرد انتقادی عکسها نسبت به برساختهگی واقعیت باشد.</span>https://rahpooye.soore.ac.ir/article_734134_2c507cf25172ccab652b323455b55f2d.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222Saghakhane school, indigenous intellectuals and dramatic works with case examples of Parviz Tanavoli's "Memorial for Farhad and Vakoh" and the play "Pehlan Akbar" by Bahram Bayzaeiمکتب سقاخانه، روشنفکران بومی گرا و آثار نمایشی با نمونه موردی "یادمانی برای فرهاد وکوه" پرویز تناولی و نمایشنامۀ "پهلوان اکبر" بهرام بیضایی172973013410.22034/ra.2025.2040668.1474FAحسنفرضی پوردانشجوی دکتری تئاتر. دانشکده هنرهای نمایشی
و موسیقی. دانشگاه تهران، تهران، ایران.0009-0008-7256-6739مجیدسرسنگیدانشیار گروه تئاتر. دانشکده هنرهای نمایشی و
موسیقی. دانشگاه تهران، تهران، ایران.کاظمنظریاستادیار گروه تئاتر. دانشکده هنر، دانشگاه بین المللی سوره، تهران، ایران.Journal Article20240910The relationship between intellectuals as generators of ideas and actors of critical wisdom, in the context of the historical developments of the last years of the Pahlavi II regime, with the visual school of Saqaqhana and the dramatic works of Saqaqhana theater is the subject of recent research. In order to understand the relationship between the visual works of the Saqakhaneh school and dramatic texts, this research measures their relationship with each other, considering the two components of "Westernization" and "Returning to Folk Authenticity". Saqaqhana visual school, which is influenced by the visual decorative elements of popular culture, to produce a modern and original work, in discovering the symbolic aspects of religious ceremonies such as the Karbala event, gives an artistic role to the objects of folk rituals and the details of the rituals of the street and bazaar people. This dealing with a ritualistic aspect of the popular life of the people in performing arts also in the form of the effective presence of sometimes non-dramatic and decorative ritual rituals, along with some dramatic elements of popular culture with the symbolic middle of Saqaqhana in the dramatic works, brings these works to the visual arts space of the Saqaqhana school. it approaches The acceptance of the presence of Shiite idols and traditional religious arts in visual and visual works in the form of transformed objects and situations is an attempt to visualize and show a kind of painful reluctance of the spirit of the times. The purpose of the upcoming research is to propose a common approach in examining the visual arts and performing arts of the 1340s and 1350s, considering the intellectual behavior of this era. In addition to the translation of decisive works in the cultural minds of the society such as "Hells on Earth" by Frantz Fanon, witnessing the emergence of many types of intellectual works of intellectuals of this era, including; We are Ahmed Fardid, Jalal Al Ahmed, Dariush Shaygan and Ali Shariati. The efforts of some ecological intellectuals, such as Shadman and Al-Ahmed, with cultural influences in Iranian society, have not been without effect in the attitude of returning to popular authenticity. The researchers of this research, regardless of the common categories influenced by the national theater group, suggest the title of Saqakhane theater for scattered drama texts outside of this category, which have common criteria with each other and with the visual school of Saqaqhana. By building a memorial for Farhad and Koh, Tanavoli narrates the glory of the past and creates the lover's longing in the decorations of buildings such as the tavern and elements such as locks. Baizai also tries to show Akbar's longing for the loss of Ayari religion. The unity of thought, affected by the spirit of the times, has produced a work of art. The romantic effort and the common people's beliefs about it, a combination of locks and chains to carry out an impossible mission and carve mountain rocks, are poetic allegories that Tanavoli has used to portray a legendary artist, Farhad, allusions and metaphors. Parviz Tanavoli's Persian literature has shown itself in the forms and objects belonging to Saqaqhana. Baizai has also tied a combination of a lock and a love chain of Pahlavi to Saqaqhana. A warrior offers the name of Akbar in the prayer chain of an old woman at the door of the battle hall. A vow that Akbar sacrifices the little son of the old woman, Haider. Akbar's chivalry is revealed when he goes through his favorite girl to marry Haider. The similarity of the ideas of these two works is due to the atmosphere of the tavern. In this research, by categorizing the performance of Iranian intellectuals in the two fields of critical attitude of westernization and the idea of returning to the folk self, a kind of localism was revealed in the macro-intellectual space, which, in addition to the effects on culture, caused the formation of a kind of indigenous art nouveau called the Saqaqhana school. The comparison of the Saqaqhana visual school with the term proposed in this article, the Saqaqhana theater, with regard to the components of the native intellectuals, shows that the Saqaqhana visual school and the Saqaqhana theater, influenced by the first component, are trying to deal with local material facilities, instead of hastily imitating West, to create a kind of companionship of the West with the vernacular axis. Therefore, both in theater and in visual arts, the people of Saqqah are trying to summarize Iranian culture in folk culture and tradition and to seek help from this culture for their modernity. The second component of the idea of returning to popular culture in direct relation with native intellectuals, deals with the acceptance of "saqakhane" as an authentic folk self that has nostalgia for time, space, ethics and society. This art school's nostalgic interest in the "tavern" in visual arts and theater defines the return to folk authenticity as a full-fledged representative of national culture in dealing with modernity.<span lang="FA">این پژوهش به بررسی نسبت اندیشه روشنفکری ایرانی با مکتب سقاخانه در هنرهای تجسمی و تئاتر، در بستر تحولات فرهنگی و اجتماعی سالهای پایانی حکومت پهلوی دوم میپردازد. روش تحقیق این مطالعه، تحلیل تطبیقی با رویکرد تاریخی-مفهومی است که با تمرکز بر دو مؤلفه نظری «غربزدگی» و «بازگشت به اصالت عامیانه»، به سنجش پیوند میان آثار هنرمندان تجسمی و نمایشنامهنویسان ایرانی پرداخته است. یافتهها نشان میدهند که مکتب تجسمی سقاخانه، با بهرهگیری از عناصر آیینی و اشیاء مذهبی چون قفل، پنجه، تسبیح، و پنجره مشبک، کوشیده است تا نمادهای فرهنگی شیعی را در قالبی نوگرا بازآفرینی کند. در تئاتر نیز، نمایشنامهنویسانی چون بهرام بیضایی، علی نصیریان و اسماعیل خلج با استفاده از فرمهای نمایشی سنتی نظیر روحوضی، نقالی و شخصیتهای عامهپسند، به بازنمایی فقدان سنتهای اخلاقی و اجتماعی در دوران مدرن پرداختهاند. نمونههای موردی چون «یادمانی برای فرهاد و کوه» اثر پرویز تناولی و «پهلوان اکبر میمیرد» اثر بیضایی، نشان میدهند که هنرمندان این جریان با رویکردی نوستالژیک، در پی بازتعریف هویت فرهنگی ایرانی در مواجهه با مدرنیته بودهاند. بر این اساس، پیشنهاد میشود که عنوان «مکتب سقاخانه» نهتنها برای جریان هنرهای تجسمی، بلکه برای جریان تئاتر ایرانی نیز بهکار رود؛ چرا که هر دو حوزه با بهرهگیری از عناصر فرهنگ عامه و مناسک آیینی، در تلاش برای خلق هنری بومی و مدرن هستند که بازتابی از خویشتن فرهنگی در عصر نوسازی است. نتیجه پژوهش حاکی از آن است که مکتب سقاخانه، در هر دو عرصه تجسمی و نمایشی، تلاشی برای تلفیق سنتهای بومی با زبان مدرن هنر است.</span>https://rahpooye.soore.ac.ir/article_730134_7ece1152b42adefe5eb9ca9ffc4a28e7.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222Recreating Public Spaces Using Interactive Digital art: a Case Study of “Quantum Space" Installation of Kuflex Studioبازآفرینی فضاهای عمومی با استفاده از هنر دیجیتال تعاملی: مطالعه موردی چیدمان «فضای کوانتوم» استودیوکوفلکس314473331910.22034/ra.2026.2048963.1505FAراضیهمختاری دهکردیاستادیار گروه ارتباط تصویری، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران0000-0002-8076-1277مجیداسدی فارسانیاستادیار گروه ارتباط تصویری، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران0000-0002-6798-4521Journal Article20241225Digital technology advancements have propelled visual arts toward innovative forms such as interactive digital installations. By leveraging cutting-edge technologies, these installations foster active engagement between the audience and the artwork. Interactive installations in public spaces blur the boundaries between art, technology, and public spaces, offering immersive artistic experiences. Studio Kuflex, as a pioneer in this field, has created numerous installations. This paper aims to analyze the interactive experiences generated by Studio Kuflex's "Quantum Space" installation and examine the impact of technology on artistic experiences in public spaces. Employing a descriptive-analytical approach and purposive sampling, this study conducted a case study of the "Quantum Space" installation. Data was collected through library research, digital resources, and content analysis of the installations. Qualitative content analysis was used to analyze the data. The findings reveal that the "Quantum Space" installation transformed a personal artistic space into a public artistic space by creating a controlled experimental setting. By utilizing advanced technologies, this installation facilitated active audience engagement with the artwork, providing rich and dynamic artistic experiences. Digital installations allow audiences to study personal distancing in social interactions within a controlled environment. Public art has emerged as a powerful tool for social interaction and shaping collective identity in the digital age. By transitioning artworks from the enclosed spaces of museums to public spaces, it has facilitated broader audience engagement with art and fostered social dialogue. This shift not only enriches urban environments but also diversifies artistic experiences and contributes to the formation of collective identities. The precise definition of public art is contingent upon various factors and has evolved over time. It extends beyond a mere visual artifact and encompasses interaction, audience participation, and environmental enhancement. The significance of public art lies in its role as a socializing agent, enabling individuals from diverse backgrounds to participate in the creation and experience of art. However, equal access to public art and the ability to engage in artistic dialogue are contingent upon social and economic factors. Furthermore, a deep understanding of public art requires specialized knowledge and experience. As a subset of the public sphere, public art provides a platform for citizens to discuss and exchange ideas about social and political issues, thereby playing a crucial role in shaping collective identity. Interactive art, with roots traceable to ancient Greek theater and classical paintings, has been revolutionized by the advent of digital technologies. While audience interaction with art was previously limited to simpler forms such as sensory responses or participation in theatrical performances, digital technologies have enabled the creation of complex and multisensory artistic experiences. From cybernetic sculptures to virtual reality, new technologies empower artists to create interactive works that engage the audience as active participants. These works are not only present in traditional art spaces but also in public environments and are increasingly permeating our daily lives. The history of interactive art reveals that each technological advancement has led to new forms of interaction between artist and audience. From the invention of radio and television to the emergence of computers and the internet, each stage of this evolution has contributed to the increasing complexity and richness of artistic experiences. Ultimately, digital interactive art blurs the boundaries between artist, artwork, and audience, creating a shared and dynamic experience. This type of art not only allows the audience to connect with the artwork but also challenges them to think about the nature of art, technology, and reality. Interactivity, as a complex and multifaceted concept, plays a significant role in the design and development of new technologies and media. It refers to the reciprocal connection and influence between humans and technology or between humans in virtual environments. In art, interactivity means the active participation of the audience in the creation of the artwork. The core of the concept of interactivity is reciprocal connection and influence, which can occur directly or indirectly, actively or passively, and at various levels of complexity. The "Quantum Space," as an innovative installation in the field of digital interactive art, blurs the boundaries between art, technology, and science. By utilizing complex concepts of quantum physics and advanced technologies, it provides an unparalleled experience of human interaction with the digital space. This installation not only allows the audience to immerse themselves in a virtual world but also compels them to ponder the nature of reality, digital identity, and the future of technology. By creating a participatory and dynamic space, this artwork serves as a model for future artworks and demonstrates how art can be used as a powerful tool for exploring complex social and cultural issues. This interactive experience has the potential to create fundamental changes in how we perceive art and technology and shows that the future of art is one in which interaction, participation, and innovation are at the center of attention. The role of the audience in the "Quantum Space" installation goes far beyond that of a passive observer. The audience, as an active creator, collaborator, explorer, and thinker, is present in this work and, through interaction with it, acquires a unique and valuable experience. Moreover, the "Quantum Space" case highlights important considerations for practitioners and policymakers: scalability, accessibility, ethical data use, and long-term maintenance. As interactive installations migrate into public realms, designers must account for diverse audiences, inclusive interfaces, and varying levels of digital literacy to ensure equitable participation. The study underscores the need for transparent data practices—particularly where sensors and biometric inputs are deployed—and calls for guidelines that protect privacy without stifling creative experimentation. Additionally, sustaining such works beyond temporary exhibitions requires collaboration between artists, municipal authorities, and technologists to address infrastructural constraints and funding models. Future research should employ mixed-methods evaluations—combining observational studies, participant interviews, and interaction analytics—to measure social outcomes such as community cohesion and shifts in public behaviors. Ultimately, "Quantum Space" demonstrates that when thoughtfully implemented, technology-enhanced public art can act as both a mirror and a catalyst for civic dialogue, enriching urban life while provoking critical reflection about our collective technological future.<span lang="FA">تحولات فناوری دیجیتال، هنرهای بصری را به سمت شیوههای نوینی همچون هنر چیدمان دیجیتال تعاملی سوق داده است. این نوع هنر با بهرهگیری از فناوریهای نوین، امکان تعامل فعال مخاطب با اثر هنری را فراهم میآورد. چیدمانهای تعاملی در فضاهای عمومی، مرز بین هنر، فناوری و فضاهای عمومی را محو کرده و تجربیات هنری غوطهورساز را برای مخاطبان فراهم میآورند. استودیو کوفلکس بهعنوان یکی از پیشگامان در این حوزه، چیدمانهای متعددی خلق کرده است. هدف این مقاله، تحلیل تجربههای تعاملی ایجادشده توسط چیدمان «فضای کوانتوم» استودیو کوفلکس و بررسی تأثیر فناوری بر تجربه هنری در فضاهای عمومی است. این پژوهش با رویکرد توصیفی-تحلیلی و به روش نمونهگیری هدفمند، به مطالعه موردی چیدمان فضای کوانتوم پرداخته است. دادهها از طریق مطالعه منابع کتابخانهای، منابع دیجیتال و تحلیل محتوای چیدمانها جمعآوریشده و با استفاده از روش تحلیل کیفی محتوا، تحلیلشدهاند. نتایج نشان میدهد که چیدمان فضای کوانتوم با ایجاد یک بستر آزمایشگاهی کنترلشده، فضای شخصی هنری را به یک فضای عمومی هنری تبدیل کرده است. این چیدمان با بهرهگیری از فناوریهای پیشرفته، تعامل فعال مخاطب با اثر هنری را تسهیل کرده و تجربه هنری غنی و پویایی را برای مخاطبان فراهم آورده است چیدمان دیجیتال به مخاطبین اجازه میدهد تا فاصلهگذاری شخصی در تعاملات اجتماعی را در یک محیط کنترلشده مطالعه کند.</span>https://rahpooye.soore.ac.ir/article_733319_17324b1305559496329f9d9f7aa6e486.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222Analyzing the Representation of Slaves in Qajar Photography with an Emphasis on Actor-Network Theoryتحلیل شبکه کنشگران بازنمایی بردگان در عکاسی دوران قاجار455873218410.22034/ra.2025.2063570.1565FAمرتضیصدیقی فرددکتری پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.0000-0001-6729-1365محسنمراثیاستادیار گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران.0000-0001-5107-2811Journal Article20250612Background and purpose. Photography entered Iran only a few years after its public announcement in France (1840 CE/1256 AH). Qajar elites quickly embraced the new technology, transforming the camera from a mere documentary device into a visual instrument for enacting and displaying monarchical power. Among the social groups captured by the royal lens were enslaved men, women, and children—actors whose bodily presence had been largely muted or allegorized in textual and pictorial sources. While the legal abolition of slavery in Iran dates to the early twentieth century, the visual archive of the Qajar period (1840s–1920s) still preserves hundreds of photographs in which enslaved subjects appear either as central figures, marginal aides, or spectral absences. Despite this rich corpus, slavery has seldom been examined from a visual cultural perspective inside Iran, and almost never through the prism of Actor–Network Theory (ANT). The present article addresses this lacuna by asking: How did a heterogeneous network of human (king, princes, photographers, enslaved subjects, album viewers) and non human actants (camera, chair, backdrop, light, caption, album page, and even absence) collaborate to produce, circulate, and stabilize the image of slavery in late Qajar Iran?<br>Theoretical framework. The study is anchored in three interlocking frameworks: (1) ANT, which posits ontological symmetry between human and non human actants and views meaning as the outcome of translations within unstable networks; (2) Stuart Hall’s constructivist theory of representation, emphasizing stereotyping and naturalization as key operations in the politics of signification; and (3) Gillian Rose’s tri layered model of image analysis (production, the image itself, and reception) read through the technological, ideological, and compositional facets of each layer. Building on these foundations, the article advances the concept of the “visual network of domination,” arguing that Qajar photographs acted not as passive reflections but as operative nodes in a larger socio technical assemblage that encoded racialized hierarchies.<br>Materials and methods. Adopting a qualitative, exploratory design, the research analyzed more than 500 photographs preserved in the Golestan Palace albums, the Women of Qajar digital project, and several private collections. Purposeful sampling continued until theoretical saturation was achieved; thirty images that most vividly engaged the research questions were selected for deep reading. Data collection combined bibliographic research (historical, anthropological, and art historical texts) with systematic visual observation. Analysis proceeded in four iterative steps: (1) open coding and actant identification; (2) mapping initial socio technical networks; (3) tracing translations and mediations under emergent thematic nodes; and (4) interpretive synthesis leading to theory building. Reliability was enhanced through triangulation of visual, textual, and archival evidence.<br>Findings. Thematic analysis yielded four recurrent motifs:<br>1. Spatial hierarchy and pictorial composition. Seating, standing, depth of field, and object props (chairs, canes, carpets) served as non human mediators that translated social rank into visual form. Over time, some elite khājeh (court eunuchs) migrated from blurred margins to sharp centrality, yet always within a monarchical frame that preserved dominance.<br>2. Context of presentation and paratext. Royal albums and handwritten captions were active devices for arranging, naming, or anonymizing enslaved subjects. Terms like “Siāh Golchehre” or formulae such as hasb al amr reinforced otherness and royal authorship. The album page thus functioned as an ideological grid that choreographed both gaze and memory.<br>3. Absence as actant. Strategic elisions—missing individual portraits, veiled female slaves, blurred bodies—operated as tactics of visual control. The case of page 198 in ʿAlī Khan Valī’s album shows how simultaneous presence/absence (a shrouded nurse above, a labelled “slave” below) re affirms class boundaries through the concerted agency of cloth, caption, and page layout.<br>4. Legitimizing family portraits in the post abolition era. Late and post Qajar family photographs continue to stage enslaved or formerly enslaved figures to dramatize elite respectability. A seated white child writing with pen and paper beside a standing black child holding the inkwell, or a silent black woman at the edge of a domestic group portrait, extend the memory of slavery into the private sphere, turning the family album into a micro apparatus of social reproduction.<br>Discussion. Across these motifs, the study demonstrates that meaning in Qajar slave photography emerges from a distributed agency: royal desire, technological affordances, material props, and discursive labels coalesce to fix or recalibrate racial and social identities. The findings culminate in the proposed model of the visual network of domination, comprising six analytic stages (actant identification, translation mapping, socio technical diagramming, network interpretation, black boxing, and historical positioning). This model reframes Qajar photographs as operative agents within a living network rather than inert historical evidence.<br>Contributions. The research (a) supplies a theoretically grounded method for reading Iranian historical photographs; (b) foregrounds ordinary objects—chairs, backdrops, captions—as pivotal actants in racialized signification; and (c) widens the lens of Iranian visual culture studies to include the long overlooked domain of domestic slavery.<br>Implications and future research. Extending the model to Pahlavi era imagery could reveal continuities and ruptures in visualized hierarchies. Comparative work between Qajar photography and contemporaneous court painting may further illuminate cross media translations of power. Finally, probing European travelogues in tandem with local albums could clarify the reciprocal gaze shaping Iran’s pictorial modernity.<br>Keywords: Slave representation; Qajar photographyبررسی بایگانی عکسهای دوره قاجار نشان میدهد که دوربین عکاسی در دست شاه، اشراف و عکاسان وابسته به دربار، نه فقط چهرهی رجال و اماکن، بلکه خدمه و بردگان را نیز در قاب خود ثبت کرده است. پژوهش حاضر با بهرهگیری از نظریه کنشگر-شبکه، به تحلیل بازنمایی بردگان در این عکسها میپردازد. هدف اصلی آن است که از طریق بررسی روابط میان کنشگرانِ انسانی (بردگان، عکاس، شاه، درباریان و اشراف و ...) و غیرانسانی (دوربین، قاب، اشیاء صحنه، ترکیببندی، عکسنوشت و آلبوم و ...)، نشان دهد تصویر چگونه بهمثابهی «میدانِ ترجمه» عمل کرده و در تثبیت یا بازتعریف منزلت نژادی-اجتماعی نقش ایفا کرده است. این پژوهش کیفی و از نوع اکتشافی است و با رویکرد نظریهپردازیِ برآمده از داده، انجام شده است. با نمونهگیری نظری و هدفمند، بیش از پانصد تصویر تاریخی از مجموعههای کاخ گلستان، پروژه زنان قاجار و آرشیوهای خصوصی گردآوری شده و در پنج مرحله شامل مشاهده، کدگذاری، شناسایی کنشگران، تحلیل ترجمه و تفسیر نهایی بررسی شده است. تحلیل تماتیک نشان داد فرایند بازنمایی بردگان در چهار لایه ترکیببندی فضایی، فناورانه-نوری، نوشتاری-آلبومی، و نمادین-ایدئولوژیک سامان یافته است. عناصر غیرانسانی همچون صندلی، نور محیط، وضوح، قاببندی، عنوانگذاری و جایگیری در آلبوم، عاملیت فعّال در شکلدهی به تصویر و ترجمهی منزلت بردگان داشتهاند. این مقاله، با صورتبندی نظریهی «شبکه دیداری سلطه»، نشان میدهد عکس قاجاری نه صرفاً بازنمایی، بلکه شبکهای از کنشگران است که مناسبات قدرت، نژاد و طبقه را در قالب دیداری ترجمه و تثبیت میکند.https://rahpooye.soore.ac.ir/article_732184_2c5a6d34504e0d9ef5d407f1f859901c.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222A Contextual Analysis of Iranian Pop Painting in the Globalization Era (Early 21st Century)نقد زمینه محور نقاشی پاپ ایرانی در عصر جهانی شدن (دهههای 80 و 90 خورشیدی)597473413110.22034/ra.2026.2054322.1528FAنیلوفررمضانیکارشناسی ارشد نقاشی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایرانسمیرارویاناستادیار گروه نقاشی، دانشکده هنر معماری، دانشگاه تربیت مدرس، تهران، ایران0009-0007-2844-2766Journal Article20250224Pop Art, as an artistic movement, emerged as a reaction to mass culture and its associated aesthetics, which had no place in fine arts before the mid-20th century. Initially appearing as an aesthetic of consumer culture in England and American art, Western consumer culture spread globally along with the export of Western products. This culture often contradicted the traditional values of host civilizations, leading to diverse interpretations and applications of Pop Art beyond its birthplace. In Iran, the arrival of Pop Art coincided with the open cultural atmosphere of the late Pahlavi era. Over time, imported Pop Art in Iran intertwined with the contexts of popular culture, giving rise to new forms. Given Pop Art's intrinsic connection to social contexts, this research aims to elucidate the components of Iranian Pop Art in the early 21st century in light of social changes and popular culture during globalization.<br>This qualitative study relies on theoretical definitions of Pop Art to explain the movement's concepts, its emergence in Iran, and its transformations. Employing a descriptive-analytical method, data were collected through documentary methods, internet searches, and note-taking. The research's statistical population includes paintings matching the definition of Pop Art from 2000 to 2020. Samples were purposively selected based on specific criteria. Analyzing the artworks, the study evaluated the relationship between the formal and thematic features of the works and the cultural and social contexts of the period.<br>Historically, Pop Art has drawn the attention of researchers worldwide as a global phenomenon linked to popular culture. However, studies focusing on the unique characteristics of Iranian Pop Art are scarce. This research reviews relevant studies on Pop Art in Iran, highlighting works such as Leila Rezvani's "Analysis of Pop Art Components in Contemporary Iranian Art" (2011), which examines the features of Pop Art and its elements in contemporary Iranian art, and Mohsen Farahani's "Comparative Study of Pop Art Painting and Saqqakhaneh Painting" (2012), which compares the visual aspects of popular culture in Pop Art and Saqqakhaneh painting.<br>Unlike previous studies that generally address Iranian Pop Art and compare it to Western examples, this research focuses on Pop Art components in the 21st century—a period marked by the impact of globalization on Iranian culture and the interaction between Iranian popular culture and Western culture. The analysis identifies formal and thematic components of the selected paintings, exploring their correlation with the cultural and social changes during this era.<br>The results reveal that Iranian Pop artists responded to Western cultural dominance during globalization by juxtaposing visual signs of Iranian popular culture with Western imported culture. This response ranged from humorous to sharply ironic, showcasing the possible states of cultural blending during globalization. The study concludes that Iranian Pop Art, by representing and critiquing behavioral patterns and visual symbols of popular culture, can be both flexible and influential in addressing societal transformations.<br>Key findings indicate that Iranian Pop Art not only critiques consumerism but also reflects economic, social, and cultural crises. By integrating signs from Iranian popular culture and Western imports, Iranian Pop Art demonstrates a range of cultural amalgamations, sometimes with a humorous tone and sometimes with sharp irony. The study also discusses the socio-cultural dynamics of Iranian Pop Art and its adaptability and impact in response to societal changes from 2000 to 2020.<br>Pop Art in Iran did not emerge as an independent movement but initially appeared through the scattered activities of Saqqakhaneh artists. These artists explored the visual elements of popular culture and used them as sources closely linked to traditional-religious-national art. Consequently, Iranian Pop Art reflects both the pleasure of modern urban life and the specificities of Pop Art within different contexts.<br>The historical development of Pop Art in Iran shows its evolution from emphasizing aesthetic aspects with traditional-religious symbols to addressing social and economic issues. Through the analysis of selected works, this research elucidates the ways in which Iranian Pop artists, like their Western counterparts, represent and critique consumerism by using everyday objects as aesthetic objects, thereby creating different codes that often disconnect from the original meaning of the represented commodities.<br>Moreover, the analysis of Iranian Pop Art in the early 21st century indicates that artists used familiar visual elements to critique societal changes and the influence of Western culture. By juxtaposing signs from Iranian and Western cultures, they addressed themes such as the dominance of Western culture in globalization and the blending of cultures. The visual representation of consumer goods and the cultural challenges of globalization are illustrated with humor and irony, reflecting the socio-cultural context of Iran during these decades.<br>This research ultimately demonstrates that Iranian Pop Art can flexibly adapt to societal changes, reflecting and influencing the evolution of popular culture and societal norms. The combination of traditional and modern elements in Iranian Pop Art provides a unique lens through which to understand the socio-cultural dynamics of this period, offering a comprehensive view of how globalization and cultural exchange shaped the artistic landscape in Iran.ورود پاپآرت به ایران به فضای باز فرهنگی اواخر دوره پهلوی باز میگردد. پاپآرت وارداتی در ایران به تدریج با زمینههای فرهنگ عامه درآمیخت و به اشکال جدیدی ظهور یافت. با توجه به ارتباط ذاتی پاپآرت با زمینههای فرهنگی و اجتماعی، هدف این پژوهش تبیین مؤلفههای نقاشی پاپ ایرانی در دهههای 80 و 90 خورشیدی در پرتو تغییرات اجتماعی و فرهنگ عامه در عصر جهانیشدن است. برای پاسخ به این پرسش که مشخصات نقاشی پاپ ایرانی چیست و چه مضامین منحصر به فردی در نقاشی پاپ ایران بازنمایی شده است ، نقاشیهای ایرانی که با تعریف هنر پاپ در مبانی نظری همخوانی داشتند انتخاب شدند و با رویکرد زمینهنگر (پساساختارگرا) تحلیل شدند . یافته ها حاکی از آنند که، نقاشی پاپ ایرانی با کنار هم قرار دادن نشانههای تصویری فرهنگ عامه ایرانی و فرهنگ وارداتی غربی به غلبه فرهنگی غرب در عصر جهانی شدن واکنش نشان داده است و بازهای از حالتهای ممکن درآمیختن فرهنگها در عصر جهانیشدن را گاه با لحنی طنز آلود و گاه با زبان تند کنایه به نمایش گذاشتند. نمایش کالاهای آمریکایی در زندگی روزمره ایرانی، کالاهای صادراتی معرف ایران در فضاهای غیر متعارف، صورت هایی با آرایش و جراحیهای زیبایی اغراق آمیز، تولید انبوه زباله و پسماند از جمله موضوعات قابل توجه نقاشی پاپ ایرانی هستند که به نقد فرهنگ مصرفی ایرانی و رابطه نظامهای سرمایه سالاری با جنگ و تخریب محیط زیست میپردازند.https://rahpooye.soore.ac.ir/article_734131_9210f329e4065e2ccb468a133cda0408.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222"The Analysis of the Collective Unconscious and the Individuation Process in Mohammad Siah Qalam's Paintings Based on Jung's Perspective"تحلیل ناخودآگاه جمعی و فرآیند فردیتیابی در نگارههای محمد سیاهقلم بر اساس دیدگاه یونگ758873413310.22034/ra.2026.2056577.1538FAفرزانهواحد دهکردیاستادیار گروه هنر، واحد قم، دانشگاه آزاد اسلامی ، قم، ایران.0000-0003-4401-9961Journal Article20250324Carl Gustav Jung, the Swiss psychologist, was one of the most important theorists in the field of the collective unconscious and archetypes, and his concepts introduced a new understanding of the relationship between art and psychology. According to Jung, the collective unconscious consists of a set of shared experiences and symbols that have historically accumulated in the collective human mind and are embodied in literary and artistic works, particularly in painting, sculpture, and other forms of visual art. These symbols, which Jung called archetypes, not only influence the artist's personality and individuality but can also play a role in the creative process and the psychological reactions of the audience. Jung believed that one of the most fundamental human instincts is these archetypes, or what could be described as a legacy embedded in the human psyche. Based on this perspective, the artist—especially in visual works—can unconsciously access symbols and archetypes that exist collectively in humanity’s unconscious. These archetypes often manifest in artistic works as specific visual forms, such as the Hero, the Mother and Father, the Persona, the Shadow, and the Anima/Animus. The collective unconscious, expressed through these archetypes in art, reflects the artist's individuation. <br>The images created by Mohammad Siah Qalam—an artist of the Timurid period—depicting human figures and situations, can on one hand serve as reflections of the artist's own psychological and spiritual themes, while on the other hand, they may subtly and unconsciously influence the emotions and perceptions of the audience. Through detailed portrayals of diverse characters in his works, Siah Qalam may reveal hidden symbols of archetypes such as the Father, the Mother, or the Hero. These manifested symbols in his art can evoke similar unconscious emotions and reactions in the viewer, awakened through deep psychological processes. Images emerging from the collective unconscious represent archetypes that speak to the artist's individuation. This research aims to analyze the collective unconscious and the individuation process in Mohammad Siah Qalam’s paintings based on Jung’s theory, seeking to answer the question: How are archetypes reproduced in Siah Qalam’s works, and what is their connection to the collective unconscious? <br>This study adopts a descriptive approach, utilizing library and documentary sources with a psychological perspective based on Jung’s archetypal theory to analyze selected works of Mohammad Siah Qalam. The sampling of his works was purposeful, and data analysis was conducted qualitatively.<br>Findings indicate that, according to Jung’s theory, the collective unconscious is humanity’s historical memory, containing shared images and symbols (archetypes) from ancestral experiences. Archetypes refer to typical or stereotypical characters that are constantly repeated. The analysis of Siah Qalam’s works reveals that he artistically represented these archetypes through depictions of humans, demons, and mythical creatures. The "Shadow," as a symbol of repressed aspects of personality, is manifested in the dark, contorted, and fear-stricken faces of his paintings. These images compel the viewer to reconsider their own unacknowledged aspects, just as Jung saw the acceptance of the "Shadow" as a crucial step in individuation. On the other hand, the "Anima" and "Animus" archetypes appear in Siah Qalam’s works as characters with contradictory gender traits—women with harsh features and men with emotional expressions, reflecting the integration of feminine and masculine aspects in the psyche. This duality, in line with Jung’s view, emphasizes the necessity of balancing these two aspects for psychological wholeness.<br>Additionally, the "Persona" or social mask is clearly visible in the exaggerated, rounded facial features of his figures. These masks conceal the inner reality of the characters, exposing the conflict between the true self and the social self. The "Hero" archetype in Siah Qalam’s works is depicted as a battle between demons and humans. This symbolic confrontation represents not only the struggle between good and evil but also an internal human battle against psychological obstacles. Siah Qalam’s hero, by overcoming the demon, symbolizes the triumph of individuation and the transcendence of unconscious crises.<br>Furthermore, the "Trickster," as a symbol of humor and norm-breaking, appears in the bizarre characters of his works. These figures, transcending the boundaries of reality, invite the audience to critique social structures and confront inner contradictions. Another notable aspect is the relative absence of "Nature" in Siah Qalam’s works. While Jung considered nature a source of unconscious symbols, Siah Qalam primarily focuses on human characters and relationships. This may indicate his emphasis on the dark and bright aspects of the human psyche, independent of external environmental representation. However, the depiction of animals and curvilinear forms in his few nature-related works suggests an indirect connection to natural archetypes. In other words, Siah Qalam creates enigmatic images that bridge the artist’s inner world and the collective unconscious of the audience. <br>By employing mythological elements, fantastical creatures, and mysterious figures, Siah Qalam has unconsciously reproduced Jungian archetypes in the form of cryptic imagery. This representation not only expresses the artist’s individuality but also invites the audience to engage in self-discovery and confront shared human experiences.ناخودآگاه جمعی، میراثی است که از ادوار نخستین حیات بشر در حافظه تاریخی انسانها نقش بسته است. کارل گوستاو یونگ، روانشناس برجسته، این مفهوم را بهعنوان لایهای عمیق از ذهن معرفی میکند که حاوی کهنالگوها و نمادهای مشترک میان تمامی انسانهاست. محمد سیاهقلم، نقاش مرموز و صاحبسبک دوره تیموری، آثاری خلق کرده است که سرشار از عناصر اسطورهای، خیالی و رمزآلود هستند. این پژوهش به بررسی چگونگی بازتولید تصاویر آرکتایپی در آثار سیاهقلم و ارتباط آنها با مفهوم ناخودآگاه جمعی یونگ میپردازد. هدف اصلی این مطالعه، شناسایی کهنالگوهایی است که این آثار را به ناخودآگاه جمعی پیوند زده و فرآیند فردیتیابی هنرمند را نشان میدهد. این پژوهش توصیفی-تحلیلی بوده و از رویکرد نقد روانشناسانه بهره برده است. دادههای مورد نیاز از طریق منابع کتابخانهای و اسنادی گردآوری شدهاند. نمونهگیری بهصورت هدفمند انجام گرفته و روش تجزیه و تحلیل دادهها نیز کیفی بوده است. با استفاده از چارچوب نظری یونگ، امکان درک معنای پنهان عناصر مرموز آثار سیاهقلم فراهم شده است. یافتههای این پژوهش حاکی از آن است که آثار محمد سیاهقلم فراتر از یک بیان هنری صرف، بستری برای تجلی ناخودآگاه جمعی هستند. نقاشیهای او بهطور گستردهای از نمادهای آرکتایپی بهره میبرند. سیاهقلم با استفاده از عناصر اسطورهای، موجودات افسانهای و شخصیتهای مرموز، موفق شده است کهنالگوهای یونگی را در قالب تصاویر رمزآلود بازتولید کند. این هنرمند با تکیه بر کهنالگوهایی همچون سایه، آنیما و آنیموس، پرسونا، قهرمان، مادر، دلقک و طبیعت، ناخودآگاه جمعی را در آثارش بازتاب داده و مخاطب را با فرآیند خودیابی خویش مواجه ساخته است.https://rahpooye.soore.ac.ir/article_734133_c58b07a4c6318fe7cecabf439e10204c.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99838420261222Cognitive Conceptualization of Pictoral Metaphors in the Pictographic Titles of Children's Books: Based on the Phillips and McQuarrie Matrixمفهومسازیِ شناختیِ استعارههای تصویری در عناوین پیکتوگرافیک کتابهای کودک، بر اساس ماتریس فیلیپس و مککوآری8910273449310.22034/ra.2026.2013270.1448FAامیرحسینزنجانبردانشآموختۀ کارشناسیارشد، ادبیات کودک و نوجوان، دانشگاه پیام نور، تهران، ایران.0000-0002-3517-9798Journal Article20240520Pictograms are visual symbols that are straightforward and lack intricate details, conveying their meanings to the audience immediately and without complexity, in contrast to logos. Numerous designers of children's book covers incorporate pictographic elements within the typography of the titles. These pictographic elements not only serve an informative purpose but also have a creative and artistic function. They communicate their messages through visual embellishments while maintaining simplicity. This article analyzes the conceptual metaphors present in the pictographic titles of children's books and, utilizing Phillips and McQuarrie’s typology, addresses the artistic structure and semantic roles of these visual metaphors. The aim of this research is to conduct a cognitive analysis of how pictorial metaphors are formed and conveyed through the use of pictographic imagery in written texts. The absence of studies on the metaphorical aspects of pictograms in Iran, along with the high prevalence of this artistic technique in children's picture book titles, underscores the importance of this research. This analytical-descriptive study expands the aforementioned typology from the domain of imagery to typography for the first time in Iran. The method of data collection is purposive, focusing on titles from picture books aimed at age groups "A," "B," and "C" (both domestic and international). The findings indicate that: 1) Phillips-McQuarrie’s typology is effective not only for interactions between two images but also for interactions between typography and pictograms; 2) the creation and interpretation of semantic rhetoric in typography rely on an automatic understanding of conceptual metaphors.<br><br>Pictograms are visual symbols that are straightforward and lack intricate details, conveying their meanings to the audience immediately and without complexity, in contrast to logos. Numerous designers of children's book covers incorporate pictographic elements within the typography of the titles. These pictographic elements not only serve an informative purpose but also have a creative and artistic function. They communicate their messages through visual embellishments while maintaining simplicity. This article analyzes the conceptual metaphors present in the pictographic titles of children's books and, utilizing Phillips and McQuarrie’s typology, addresses the artistic structure and semantic roles of these visual metaphors. The aim of this research is to conduct a cognitive analysis of how pictorial metaphors are formed and conveyed through the use of pictographic imagery in written texts. The absence of studies on the metaphorical aspects of pictograms in Iran, along with the high prevalence of this artistic technique in children's picture book titles, underscores the importance of this research. This analytical-descriptive study expands the aforementioned typology from the domain of imagery to typography for the first time in Iran. The method of data collection is purposive, focusing on titles from picture books aimed at age groups "A," "B," and "C" (both domestic and international). The findings indicate that: 1) Phillips-McQuarrie’s typology is effective not only for interactions between two images but also for interactions between typography and pictograms; 2) the creation and interpretation of semantic rhetoric in typography rely on an automatic understanding of conceptual metaphors.<br><br>Pictograms are visual symbols that are straightforward and lack intricate details, conveying their meanings to the audience immediately and without complexity, in contrast to logos. Numerous designers of children's book covers incorporate pictographic elements within the typography of the titles. These pictographic elements not only serve an informative purpose but also have a creative and artistic function. They communicate their messages through visual embellishments while maintaining simplicity. This article analyzes the conceptual metaphors present in the pictographic titles of children's books and, utilizing Phillips and McQuarrie’s typology, addresses the artistic structure and semantic roles of these visual metaphors. The aim of this research is to conduct a cognitive analysis of how pictorial metaphors are formed and conveyed through the use of pictographic imagery in written texts. The absence of studies on the metaphorical aspects of pictograms in Iran, along with the high prevalence of this artistic technique in children's picture book titles, underscores the importance of this research. This analytical-descriptive study expands the aforementioned typology from the domain of imagery to typography for the first time in Iran. The method of data collection is purposive, focusing on titles from picture books aimed at age groups "A," "B," and "C" (both domestic and international). The findings indicate that: 1) Phillips-McQuarrie’s typology is effective not only for interactions between two images but also for interactions between typography and pictograms; 2) the creation and interpretation of semantic rhetoric in typography rely on an automatic understanding of conceptual metaphors.<br>Pictograms are visual symbols that are straightforward and lack intricate details, conveying their meanings to the audience immediately and without complexity, in contrast to logos. Numerous designers of children's book covers incorporate pictographic elements within the typography of the titles.پیکتوگرامها نشانههای تصویریِ ساده و فاقد جزئیاتاند که معنای خود را بدون پیچیدگی و بلافاصله منتقل میکنند. بسیاری از طراحان جلد کتابهای کودک، از خردهشمایلهای پیکتوگرافیک در لابهلای تایپوگرافیِ عناوین استفاده میکنند. خردهپیکتوگرامهای بهکاررفته در این تایپوگرافیها، علاوهبر کارکرد زیباییشناختی دارای کارکرد اطلاعرسانی نیز هستند. این خردهپیکتوگرامها پیام خود را در عین سادگی، از مجرای آرایههای بصری انتقال میدهند. مقالۀ حاضر با تحلیل استعارهها و مجازهای مفهومیِ مستتر در عناوین پیکتوگرافیکِ کتابهای کودک به چگونگی ساختار هنری و کارکرد معناییِ استعارههای تصویریِ این عناوین پاسخ میدهد. هدف مقالۀ پیشِرو تحلیل شناختیِ فرایند شکلگیری و انتقال استعارات تصویریای است که از بهکارگیری شمایلی پیکتوگرافیک در متنی نوشتاری حاصل میآید. این پژوهش به روش تحلیلیتوصیفی و وفق نظریۀ فیلیپس و مککوآری در نوعشناسی استعارات تصویری و با استناد به آرای کوچش در استعارهها و مجازهای مفهومی انجام شده است. فقدان استعارهشناسی پیکتوگرام در ایران و بسامد بهکارگیری این شگرد هنری در عناوین کتابهای کودک، ضرورت پژوهش را مسجل میکند. مقالۀ پیشِرو برای نخستین بار در ایران، نوعشناسی مذکور را از حوزۀ تصویر به حوزۀ تایپوگرافی گسترش میدهد. روش گردآوری دادهها بهصورت هدفمند و جامعۀ آماری آن، عناوین کتابهای تصویری گروه سنی «الف»، «ب» و «ج» (فارسی و انگلیسی) است. پژوهش حاضر نشان میدهد، اولا: نوعشناسی فیلیپس و مککوآری در ساختار بصری و بلاغت معنایی، نهتنها برای تعامل بین دو تصویر کارآمد است؛ بلکه برای آرایههای مبتنی بر تعامل بین تایپوگرافی و پیکتوگرام نیز کارایی دارد؛ ثانیا، تولید و دریافتِ بلاغت معناییِ پیکتوگرافیها در گرو درک خودکار استعارات مفهومی است.https://rahpooye.soore.ac.ir/article_734493_2af73ca1f282bfcacea0925c1155f6e6.pdf