دانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321An Iconological Reading of the Painting The Narrative of Rustam Killing the Witch Woman in the Tahmaspi Shahnamehخوانش نگاره «گفتار اندر کشتن رستم زن جادو را» در شاهنامه طهماسبی با رویکرد شمایلشناسی.51973253310.22034/ra.2025.2023485.1435FAعلیمسعودی منشفارغ التحصیل دکترای تخصصی پژوهش هنر، دانشگاه تهران، تهران، ایران.0009-0009-0757-2371یعقوبآژنداستاد دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.0009-0003-0685-7320Journal Article20240221Tahmasabi's Shahnameh is known as one of the most beautiful and important manuscripts in the history of Iranian painting, which was created during the Safavid period with the participation of a significant number of artists, painters, calligraphers, etc. Among the paintings of this manuscript, Rustam appears in 37 images, making him the most frequently depicted character, represented by several different painters. One of the most significant episodes in Rustam’s life is the story of the Seven Labors (Haft Khān). The aim of this study is to provide a visual reading and iconological analysis of the illustration depicting the Fourth Labor in the Tahmaspi Shahnameh, entitled “The Narrative of Rustam Killing the Witch Woman,” which has been attributed to Qadimi. The principal research question is: upon what elements did the painter rely in presenting the hero of the Shahnameh, and how did he depict the confrontation between good and evil? This study employs a descriptive, analytical, and comparative approach based on the theories and ideas of Erwin Panofsky. The research data were collected through library-based methods. Accordingly, it is necessary to examine the artwork in relation to earlier manuscript copies, as well as other images of Rustam painted by the same artist, through an analysis of visual elements such as color, symbols, and related motifs. Panofsky’s approach, given its emphasis on the pictorial layers and implicit meanings of artworks, remains one of the most effective methodologies in art-historical research for the in-depth analysis of works of art within academic contexts. It enables scholars to uncover hidden dimensions of a work that an artist may have incorporated, even unintentionally. Therefore, through the three stages of pre-iconographic description, iconographic analysis, and iconological interpretation, this study seeks to uncover the latent layers of meaning within the artwork and answer the aforementioned questions. The findings indicate that, according to numerous sources, the hidden meaning of Rustam’s name—associated with the force of flowing water, the rush of rivers, and vigorous growth—is influenced by the significance of water and the perpetual struggle between drought and fertility. This symbolism does not conflict with Rustam’s distinctive epithet, “Bestower of the Crown,” which has Scythian roots and denotes the protector and guardian of kingship. Rustam is not merely the defender of the king; he is also the guardian of water against drought. He is consistently associated with verdant fields, and his tent is green in color. Rustam rises in opposition to Afrasiyab, who, according to the evidence presented, belongs to the ranks of the demons and whose invasions of Iran invariably bring drought and water scarcity. In other words, Rustam’s presence within the Iranian epic tradition symbolizes the importance of water and embodies prosperity and fertility. He stands in opposition to drought, represented symbolically by Afrasiyab. Rustam is likewise the protector of kingship, for the loss of royal glory (farr) and the absence of legitimate sovereignty are equated with drought and desolation. Rustam is consistently present in resistance to such conditions. For this reason, the painter symbolically represents Rustam and the witch woman—who serves as a signifier of demonic evil—as embodiments of fertile land and barren land. Their presence divides the painting into two contrasting zones: one lush and verdant, the other dry and lifeless. Furthermore, through the use of the color red—possibly influenced by earlier manuscript traditions—the artist sought to convey specific qualities of Rustam: strength, brilliance, and vitality, likening him to a life-giving sun. The use of this color can also be observed in earlier manuscript traditions and in certain examples of Christian art depicting saints. Qadimi, the painter of this illustration, employs red in Rustam’s beard and mustache, both in this image and in other depictions of the hero, as a symbol of masculinity, wisdom, and courage. Rustam alone is portrayed with red hair and a beard. In contrast, the artist cleverly combines red and black to depict Rustam’s opposite, the witch woman, thereby evoking demonic and sinister associations. Rustam’s redness is not confined merely to the symbolic meaning of the color red. Certain versions of the Shahnameh describe him as red-hued at birth, although such verses do not appear in the edition prepared by Jalal Khaleghi-Motlagh. In addition to portraying the struggle between good and evil and using Rustam’s red beard and mustache as symbols of power and sanctity, the painter incorporates animals concealed among the rocks and vegetation. From a historical perspective, these motifs may help determine the date of the painting’s creation. On a symbolic level, however, they do not contradict the proposed dating but instead align with the themes of the narrative: water, Rustam, fertility, the regeneration of nature, evil forces, night, conviviality, indulgence, deceit, and falsehood. It may therefore be argued that the artist, perhaps unintentionally, incorporated elements that reinforce the narrative of Rustam, his character, and his opposition to the witch woman—elements that may ultimately be understood as symbolic expressions of the eternal struggle between good and evil.<span lang="AR-SA">هدف این جستار خوانش بصری و تحلیل شمایلشناسانه تصویر خان چهارم شاهنامه طهماسبی: «گفتار اندر کشتن رستم زن جادو را» که منسوب به قدیمی است میباشد. سوال اصلی پژوهش این است که نقاش با تکیه بر چه مواردی به معرفی قهرمان شاهنامه پرداخته و تقابل خیر و شر را چگونه ترسیم کرده است؟ روش این تحقیق با رویکرد توصیقی-تحلیلی و تطبیقی است و بر مبنای اندیشههای پانوفسکی شکل گرفته است. تحقیقات این پژوهش آشکار میسازد که نگارگر تصویر خان چهارم، نه تنها از بیان نمادین تصویری در نمایش کم آبی و پر آبی که زن جادو و رستم را معادل آنان دانسته است سود برده، بلکه به نوعی ضمنی با استفاده از رنگ توانسته است نبرد بین خیر و شر و نمایش قدرت را نمایش دهد به قسمی که ریشههای این رنگگذاری در شخصیت رستم و زن جادو را میتوان در دیگر نقاط جهان هم ردیابی نمود، آن سان که ما را به این فرضیه نزدیک میکند که این برخورد نه فقط متأثر از دیگر نسخ بلکه ناشی از روان جمعی آدمی است. از طرفی کاربرد و نمایش مخفیانه چندین حیوان در میان صخرهها میتواند همسو با رمز گذاری برای زمان و سال خلق اثر باشد که به چرخه سالهای دوازده گانه معروف است، علاوه بر این مورد کاربست این حیوانات در نمادپردازی نیز با محتوای اثر کاملاً در یک جریان قرار میگیرد.</span>https://rahpooye.soore.ac.ir/article_732533_ba8e1e1b396f29816644aedd0bd4bb30.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321The Analytical study of the Homiyan rock and colored motifs (Chowarta-e Gharb) in the Lorestan Kuhdashtبررسی تحلیلی نقوش صخرهای و رنگی هومیان (چوارتای غرب) در کوهدشت لرستان213373413210.22034/ra.2026.2054992.1533FAحسنافشاریدانشجوی دکتری باستان شناسی، دانشگاه تهران، گرایش پیش از تاریخ.0009-0001-5742-7414کیمیاعسگریدانشجوی کارشناسی ارشد، باستان شناسی، دانشگاه تربیت مدرس، تهران، ایران.Journal Article20250422The Houmian region, located in the northeast of Kuhdasht, a district in Lorestan Province, is one of the most significant historical sites in the Zagros Mountains and on the Iranian Plateau. A considerable number of pictographs have been discovered in this area. More precisely, several hundred colored images have been painted over a stretch of more than 6 kilometers along the slopes of Mount Sarsarkhan during different time periods. To date, over 22 sites featuring colored rock art have been reported in this region, each containing between 2 and more than 67 individual motifs. Houmian can be considered the largest rock art museum (with colored images) in Iran. The motifs found here are of great importance, as some depict narrative scenes with social themes, and certain animals portrayed, such as the famous deer in the Chelga Shalae site, appear to be long extinct. It is likely that the tradition of colored painting in this intermountain valley dates back to the Late Paleolithic and has continued into more recent times. When studied from artistic and thematic perspectives, these motifs constitute a valuable resource for understanding the past. In this paper, the authors introduce one of the most important sites in the Houmian region, today known as Chowarta West. This site was first reported in 2001 by Mr. Omran Garazhian and his colleagues and later re-examined in 2003 by Marcel Otte and his team. Unfortunately, the aforementioned articles only identified the site, and no comprehensive study was conducted on the Chowarta motifs. Some recently drawn charcoal images were even mistakenly categorized as historical pictographs. In Chowarta Western, more than 24 pictographs in red, red-brown, red-orange, and yellow have been drawn on a large rock surface on the slopes of Mount Sarsarkhan or Kizeh, near the mountain's summit. All of these images have been created with simple lines, likely drawn using fingers, and possess a unique delicacy and beauty compared to other Houmian motifs. In the past, more figures existed on this rock surface (the "canvas"), but unfortunately, many have been lost due to rain deposits. Among the various pigments used in this site, red-brown appears most frequently. The images in this color are particularly beautiful and seem to have been painted over multiple time periods. Yellow-colored motifs are very abstract and rudimentary, lacking distinct aesthetic appeal. The style of these images is generally impressionistic; figures are depicted using varied lines, and some limbs are rendered with just one or two strokes, likely made with fingertips. Most of the animal figures in Chowarta West are shown in profile. Only one ram? (Figures 10 and 11) and one deer are depicted in a three-quarter view to show more detail in their antlers (Figures 10 and 12). The only human figure in this site is shown frontally, with arms in a side -view position (Figures 10 and 12). According to McBurney’s description, this depiction aligns with other Houmian motifs discovered up to 1969. It is likely that all the images were drawn individually, except for the figure of an archer, who appears to be aiming a second arrow at a game animal already struck by a first arrow. In general, the Chowarta West motifs include depictions of goats, a ram?, a deer, an arched animal with an unclear back, and a human figure with a bow in a hunting scene. The motifs were probably drawn individually and in various periods, except for the hunter figure, which is linked to two or three other images (Figures 10 and 6). There are also some faded red motifs, likely due to low-quality pigment, which appear to be partial images of quadrupeds and remnants of coloring possibly painted in the final stage. The historical dating of the motifs remains unknown. Environmental studies do not provide much help in dating them, since human habitation has continued near the Chowarta and Houmian paintings from the Middle Paleolithic to modern times. Based on Dr. Goff’s research, it is known that the Houmian Plain served as a migratory route for nomadic groups from the Neolithic period to the present. The only potential clue is the difference in surface patina of the rock, suggesting that the Chowarta motifs were painted at different times. Therefore, without absolute dating methods such as uranium-series deposition analysis conducted on each motif, no definitive conclusion can be made about their age. However, the authors believe that, considering the absence of equestrian or military motifs such as swords common in other Houmian sites and the relatively small number of motifs in Chowarta West, as well as the lack of any distinct features pointing to a specific historical era, it is likely that the Chowarta motifs are among the oldest in the Houmian Valley.<span lang="FA">منطقه هومیان در شمال شرقی کوهدشت، از توابع استان لرستان و یکی از محوطههای مهم تاریخی و زاگرس در فلات ایران است. در این محوطه، تعداد قابلتوجهی رنگیننگاره یافت شده است. به طور دقیقتر میتوان گفت که چندصد نقش رنگی در فاصلهای بیش از 6 کیلومتر در دامنه قله کوه سرسرخن و در دورههای زمانی گوناگون ترسیم شدهاند. در این نگارش، نگارندگان به معرفی یکی از مهمترین محوطههای هومیان میپردازند که امروزه به نام چوارتای غرب شناخته میشود. در این محوطه، بیش از 24 نقش به رنگهای قرمز، قرمز-قهوهای، قرمز-نارنجی و زرد بر روی تختهسنگی در پای قله کوه ترسیم شده است. نقوش این محوطه، نسبت به دیگر نقوش هومیان، از لطافت ویژهای در زیبایی و ترسیم برخوردار است که کمتر میتوان مشابه آن را در تاریخ هنر صخرهای ایران مشاهده کرد. این پژوهش بر پایه مطالعات میدانی و تحلیلهای کتابخانهای به معرفی و توصیف نقوش چوارتای غرب پرداخته است. یافتههای تحقیق نشان میدهد که احتمالاً در گذشته، این محوطه از اهمیت خاصی برخوردار بوده است، زیرا نقوش رنگی آن در چند مرحله زمانی رسم شدهاند. بر اساس شواهد باستانشناسی میدانیم که جوامع انسانی دامنه کوه مذکور از دوره پارینهسنگی میانه تا دوران معاصر، محل استقرار کوتاهمدت جوامع شکارگر و گردآورنده خوراک و سپس جوامع کوچرو و دامپرور بوده است. با توجه به شرح نقوش محوطه چوارتای غرب هومیان، در آن هیچ اثری از اهلیسازی حیوانات دیده نمیشود و بنا به سالیابی نسبی، احتمال دارد جزء قدیمیترین نقوش دره هومیان و منطقه قرار گیرد.</span>https://rahpooye.soore.ac.ir/article_734132_330f85a8e07e7c7e1a4cf0ad103fd743.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321A research on the explanation and analysis of Chinese Islamic ceramics during the Ming and Qing eras (with an emphasis on the content of inscriptions and motifs)عنوان: پژوهشی در تبیین و تحلیل سرامیکهای اسلامی چین در دوران مینگ و چینگ ( با تاکید بر محتوای کتیبه ها و نقوش(354972600810.22034/ra.2025.2003216.1347FAسحرانواریدانشجوی دکتری تاریخ تطبیقی و تحلیلی هنرهای اسلامی، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران. تهران، ایران.0000-0003-2056-7365حسنبلخاری قهیاستاد گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران.0000-0002-6304-4815Journal Article20230529Islam reached China peacefully through the Silk Road in the 7th century CE. Nevertheless, the Yuan Dynasty is generally regarded as the distinct beginning of Islamic art in China. Entering a land deeply shaped by Confucianism, Daoism, and Buddhism, Islam encountered a cultural environment characterized by the long-standing Chinese tradition of assimilating foreign ideas through adaptation and Sinicization. Rather than remaining separate from local traditions, Islamic culture gradually interacted with Chinese artistic, religious, and philosophical values, producing distinctive artistic forms that combined Islamic identity with Chinese aesthetics. This process is evident in numerous artistic fields, including mosque and tomb architecture, Qur'anic calligraphy, calligraphic scrolls, metalwork, enamelware, and inscriptions on mosques and gravestones. Among these, porcelain represents one of the most remarkable media through which Islamic artistic traditions were expressed in China. Although the earliest examples appeared during the Yuan Dynasty, the production of Islamic porcelain reached its artistic and technical maturity during the Ming and Qing dynasties. During the Ming Dynasty, especially under the reign of Emperor Zhengde, imperial porcelain workshops at Jingdezhen produced numerous blue-and-white porcelains decorated with Arabic and Persian inscriptions. Historical evidence attributes this flourishing partly to the presence of a Muslim consort at the imperial court, the possible conversion of Emperor Zhengde to Islam mentioned in some historical sources, and the appointment of Muslim officials to supervise imperial porcelain production. In addition, the emperor's interest in foreign scripts and his encouragement of cultural exchanges with Islamic lands, particularly Iran, stimulated the incorporation of Islamic elements into imperial porcelain. At the same time, the growth of the Muslim population and improvements in their socio-economic conditions increased domestic demand for such objects, while exports to Islamic regions further encouraged their production. Although porcelain manufacture temporarily declined following the destruction of the Jingdezhen kilns during the late Ming period, production quickly recovered after the establishment of the Qing Dynasty with the reconstruction of the imperial kilns. The interaction between Islamic traditions and Chinese culture was reflected not only in the inscriptions but also in the visual language of these ceramic objects. As Muslims increasingly became integrated into Chinese society through the Sinicization policies of the Ming and Qing governments, Chinese artistic conventions, decorative vocabulary, and symbolic concepts were incorporated into Islamic ceramics. Consequently, these objects represent a unique synthesis of Islamic religious expression and Chinese artistic heritage, making them significantly different from contemporary ceramics produced elsewhere in the Islamic world. With the aim of identifying the formal and semantic characteristics of Islamic ceramic inscriptions as well as the origins and symbolic meanings of their decorative motifs, this study examines selected examples from the Ming and Qing dynasties. The importance and necessity of research in revealing the formal and semantic components of inscriptions and decorative motifs of Islamic ceramics in the two historical periods of Ming and Qing in China as a land distinct from other parts of the Islamic world with a non-Islamic cultural and religious background and the dominant stream of Taoist, Buddhist and school religions Confucianism results.In the current research, in order to understand Islamic ceramics in the two historical periods mentioned, motifs and inscriptions of a number of ceramic objects have been taken into consideration. For the purpose of analyzing the themes and form of the calligraphic inscriptions as well as the motifs used in the decorations, their origin and symbolic meaning, the proposed questions are as follows: 1- What are the form and content characteristics of the inscriptions on Islamic ceramic objects of the Ming and Qing eras? 2- What motifs are used in the decoration of Islamic ceramic objects of the Ming and Qing eras, and what are their origins and symbolic meanings? The descriptive-analytical research method is used with a historical approach. The statistical population is Chinese Islamic ceramic objects in the Ming and Qing eras, and the sampling method is through the study of museums and personal collections. The number of samples is 14, including 8 samples from the Ming era and 6 samples from the Qing era; The index in the selection of samples is to consider criteria such as the coverage of all types of ceramics with existing applications and forms, as well as the presence of sufficient images of the samples for the reading of the inscriptions by the authors, or the existence of the original text (and not the English equivalent) or Chinese inscriptions.The way of working in this research is that the samples are classified and introduced in two tables based on the time period of the Qing and Ming eras, and at the same time, its decorative motifs are described and the inscriptions are read along with their meanings and themes are done. Then the inscriptions and motifs are analyzed separately. The method of data analysis is qualitative.The importance and necessity of research in revealing the formal and semantic components of inscriptions and decorative motifs of Islamic ceramics in the two historical periods of Ming and Qing in China as a land distinct from other parts of the Islamic world with a non-Islamic cultural and religious background and the dominant stream of Taoist, Buddhist and school religions Confucianism results.The results of this research indicate that the inscriptions on these objects are in Arabic and Persian, with Chinese script, and express the principles of monotheism and prophecy, praise and expression of God's attributes, prayers, short instructive sentences, and also express the function of the desired object. Also, the motifs used in decorations mainly include plant motifs, elements of nature, geometric shapes and key and cover patterns with the predominance of surface motifs, which are derived from Chinese traditions, especially the religions of Taoism, Buddhism and Confucian teachings, and meanings such as immortality. , long life, immortality, abundance of blessings, fertility, love, male and female sexual forces, strength, purity, happiness, comfort and well-being, good fortune, success and victory, knowledge and wisdom, balance and perfection and include all four seasons. Inscriptions are the only elements that give Islamic identity to these objects.<span dir="RTL" lang="FA">از مهمترین بسترهای ظهور هنر اسلامی در سرزمین چین، چینی و سرامیک است که شکوفایی آن به دوران مینگ و چینگ برمیگردد. از آنجایی که در زمان ورود دین اسلام و پس از آن، بافتار فرهنگی و مذهبی چین به لحاظ الگوهای غالب، متفاوت با سایر مناطق جهان اسلام بوده </span><span lang="FA"><span dir="RTL">است؛ لذا، شناسایی مؤلفههای تاثیرگذار بر هنر اسلامی در این سرزمین ضروری مینماید. پژوهش حاضر با هدف واکاوی مضامین کتیبههای عربی و فارسی خوشنویسیشده و نقشمایههای بهکار گرفته شده در تزئینات، خاستگاه و معنای نمادین آنها در اشیاء سرامیکی اسلامی در دوران مینگ و چینگ، در پی پاسخ به این سؤالات است: ۱- مضامین کتیبههای اشیاء سرامیکی اسلامی دوران مینگ و چینگ، از چه قرارند؟ ۲- چه نقوشی در تزئینات اشیاء سرامیکی اسلامی دوران مینگ و چینگ بهکار گرفته شدهاند و دارای چه خاستگاهها و معانی نمادین هستند؟ در این راستا، روش پژوهش از نوع توصیفی- تحلیلی و مبتنی بر رویکردی تاریخی و شیوهی گردآوری اطلاعات، متکّی بر اسناد کتابخانهای، اطلاعات موزهها و دادههای اینترنتی است. تعداد 14 نمونه نیز جهت مطالعه درنظر گرفته شده است. نتایج حاصله از پژوهش حاکی از آنست که محتوای کتیبههای منقوش بر سرامیکهای اسلامی دو دورهی مذکور در چین، بیانگر اصول دین اسلام، ستایش و صفات خدا، دعا، جملات پندآموز بوده و همچنین اشاراتی به کارکرد شیء دارند. نقوش بهکار رفته در تزئینات مشتمل بر نقوش گیاهی، عناصر طبیعی، اشکال هندسی و الگوهای کلیدی و پوششی با غلبه</span><span dir="RTL">ی نقشمایه رویی هستند که از سنتهای چینی بهویژه مذاهب دائویی، بودایی و تعالیم کنفوسیوسی نشأت گرفتهاند. این نقوش مضامینی چون جاودانگی، طولعمر، وفور، باروری، عشق، نیروهای جنسی مردانه و زنانه، پاکی، شادمانی، رفاه، خوشاقبالی، پیروزی، فرزانگی، تعادل و کمال را درخود مستتر دارند. کتیبههای عربی و فارسی عناصر اصلی اعطاءکنندهی هویت اسلامی به این اشیاء هستند.</span></span>https://rahpooye.soore.ac.ir/article_726008_c461a05f978b4a8e9c097bbad4b11127.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321Revisiting Cubism and Surrealism in the Works of Picasso and Dalí: A Focus on Nelson Goodman’s Concept of Irrealismبازخوانی جنبش کوبیسم و سوررئالیسم در آثار پیکاسو و دالی با تمرکز بر مفهوم ناواقع گرایی نلسون گودمن516473176010.22034/ra.2025.2050862.1517FAمهرانزارع رمشتیدانشجوی دکتری فلسفه هنر، دانشکده هنر، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران.0000-0003-3469-2968حسیناردلانیاستاد گروه فلسفه هنر، واحد همدان، دانشگاه آزاد اسلامی، همدان ، ایران.0000-0002-4390-3862Journal Article20250121This study examines Nelson Goodman’s theory of irrealism and worldmaking as a philosophical framework for analyzing modern art, particularly within the avant-garde movements of Cubism and Surrealism. Goodman challenges the traditional view of reality as a fixed and objective entity, proposing instead that it is constructed through symbolic systems such as language, science, and art. In this sense, Goodman’s philosophy represents a radical shift from the realist conception of an independently existing world. Instead of being a passive receiver of external stimuli, human cognition actively participates in shaping our understanding of the world. By recognizing reality as a construct of symbolic systems, Goodman invites us to reconsider our perception of the external world, emphasizing that art, like language, creates reality rather than simply mirroring it. Goodman’s irrealism holds that reality is not merely given or found, but rather made through various symbolic frameworks. He rejects the notion of an objective, independent reality and posits that human beings can construct multiple realities based on different symbolic structures. This conceptual shift enables a deeper understanding of modern art, particularly in its ability to challenge conventional perceptions of space, time, and identity. Through symbolic systems, artists are not simply reflecting the world around them but are actively creating new realities, opening up possibilities for understanding human experience in ways that were previously unimagined. The central research question guiding this study explores how Goodman’s theory can be applied as a tool for analyzing modern art, particularly in its transformation of reality. Specifically, the study examines two iconic works: Les Demoiselles d'Avignon by Pablo Picasso and The Persistence of Memory by Salvador Dalí, which were chosen for their significant roles within the Cubist and Surrealist movements. Both of these masterpieces represent moments in the history of art when traditional modes of representation were broken, offering profound insights into how artists engage with the process of worldmaking. The research aims to apply Goodman’s conceptual framework to these two pivotal works to demonstrate how they transcend traditional forms of representation. Picasso’s Les Demoiselles d'Avignon challenges classical norms of anatomy and perspective, creating a symbolic system that aligns closely with Goodman’s notion of worldmaking. Through the use of geometric abstraction and the simultaneous presentation of multiple perspectives, Picasso offers a fragmented, multifaceted version of reality that directly challenges the concept of a single, objective world. In deconstructing the human figure, Picasso reinterprets it as a series of shapes and forms that exist within a dynamic and evolving symbolic system. This approach suggests that reality is not fixed or singular but is open to transformation through the way humans structure and represent it. Through his innovative technique, Picasso questions the very foundation of artistic representation, showing how art can invent rather than replicate the world. Similarly, Salvador Dalí’s The Persistence of Memory exemplifies Surrealism’s ability to merge reality with imagination, blurring the boundaries between the real and the imaginary. In this iconic painting, Dalí uses the surrealist technique of dreamlike imagery to dissolve traditional notions of time and space. The melting clocks, which appear to ooze and distort across the canvas, challenge conventional perceptions of temporality and permanence. The bizarre landscape, with its desolate, almost otherworldly quality, further invites the viewer to reconsider the nature of reality itself. Through this symbolic blending of the real and the fantastic, Dalí creates a new, surreal symbolic reality that echoes Goodman’s ideas of worldmaking. The symbolic density within Dalí’s work creates multiple layers of meaning, inviting viewers to engage with a reality that is as subjective as it is transformative. Dalí’s work is deeply rooted in Freudian psychoanalysis and draws from personal imagination, reflecting how art can fundamentally alter human understanding of existence by proposing alternative ways of seeing and experiencing the world. The methodology of this study combines philosophical analysis with detailed case studies of Picasso’s and Dalí’s works. Goodman’s theoretical concepts, such as symbolic systems, multiple worlds, and the construction of reality, are applied to interpret the selected artworks. Through this framework, the study unpacks the symbolic and conceptual innovations present in both Les Demoiselles d'Avignon and The Persistence of Memory. These works serve as case studies for understanding how modern artists use art to create new symbolic systems that actively participate in the construction of reality. In both cases, the artists are not merely depicting the world as it appears but are creating new realities that force the viewer to reconsider what is “real” and how reality can be perceived. The findings of the study reveal that both Les Demoiselles d'Avignon and The Persistence of Memory actively engage in worldmaking by redefining reality through the creation of new symbolic systems. Picasso’s rejection of traditional artistic norms, particularly in his approach to the human body and space, is not merely a stylistic choice but a profound commentary on the nature of reality itself. His work suggests that reality is fragmented and multifaceted, requiring new ways of seeing and interpreting the world. Through his geometric abstraction, Picasso makes the case that reality is not an objective, immutable structure but an ever-changing system of symbols that can be reinterpreted in countless ways. Dalí, on the other hand, uses surreal imagery to merge the real and the imaginary, breaking down the boundaries between the physical world and the world of dreams. In doing so, he challenges traditional ideas of time, space, and memory. The melting clocks in The Persistence of Memory serve as a symbol of the fluidity and subjectivity of time, while the distorted landscape suggests the mutability of space. Dalí’s work thus provides a unique example of how art can reshape our understanding of reality by creating a symbolic system that is simultaneously familiar and strange, offering new ways of engaging with the world. While the study demonstrates the utility of Goodman’s framework, it also acknowledges certain limitations. The exclusive focus on two works, while providing an in-depth analysis, limits the generalizability of the findings to a broader range of modern art. Additionally, Goodman’s notion of symbolic density remains a subject of ongoing debate among scholars, and further exploration is needed to clarify its implications for art analysis. The qualitative nature of the research introduces an element of subjectivity, which could affect the replicability of interpretations. Despite these limitations, the study contributes significantly to both philosophical aesthetics and art history by bridging Goodman’s theoretical insights with modern art practices. In conclusion, this research demonstrates that Goodman’s theory of irrealism and worldmaking offers a comprehensive framework for understanding the transformative power of modern art. Through the deconstruction of traditional modes of representation and the creation of new symbolic systems, artists like Picasso and Dalí redefine the boundaries of art and human perception. Their works exemplify art’s capacity to create alternative realities and offer new ways of understanding the world. This study highlights the critical role of modern art in shaping both individual and collective consciousness, and it opens up new avenues for interdisciplinary research in philosophy of art, art history, and the digital humanities.<span lang="FA">این پژوهش به بررسی نظریه ناواقعگرایی و مفهوم جهانسازی نلسون گودمن در تحلیل هنر مدرن میپردازد. مسئله اصلی تحقیق آن است که چگونه هنر مدرن، بهویژه در آثار شاخص کوبیسم و سوررئالیسم، با بهرهگیری از نظامهای نمادین، به بازتعریف واقعیت پرداخته و نسخههایی بدیل از جهان ارائه میدهد. بر این اساس، پژوهش با این فرض پیش میرود که نظریه گودمن میتواند چارچوبی کارآمد برای تحلیل معنایی و زیباییشناختی آثار هنری مدرن فراهم آورد. این مطالعه با روش تحلیل فلسفی و مطالعه موردی انجام شده و دو اثر مهم، دوشیزگان آوینیون اثر پابلو پیکاسو و تداوم حافظه اثر سالوادور دالی، بهعنوان نمونههایی از جهانسازی هنری مورد بررسی قرار گرفتهاند. در مرحله نخست، مفاهیم کلیدی نظریه گودمن همچون چگالی نمادین، درستی بهجای حقیقت، و نسخهسازی تبیین شده و سپس در تحلیل آثار مذکور بهکار گرفته شدهاند. یافتههای پژوهش نشان میدهد که پیکاسو با کنار گذاشتن قواعد سنتی بازنمایی و بهرهگیری از فرمهای هندسی و پریمیتیویستی، تجربهای چندبُعدی از واقعیت بصری خلق کرده است؛ در حالی که دالی، با ترکیب عناصر خیالی و واقعی، زمان و حافظه را در ساختاری نمادین و انعطافپذیر بازتعریف کرده است. هر دو اثر، با ساخت جهانهایی خاص، مصداق روشن دیدگاه گودمن درباره هنر بهعنوان ابزار جهانسازی هستند. نتیجهگیری پژوهش بر این تأکید دارد که نظریه ناواقعگرایی گودمن نه تنها امکان تحلیل عمیقتری از هنر مدرن فراهم میکند، بلکه ابزاری مفهومی برای تبیین نقش هنر در بازسازی ادراک انسانی از واقعیت است. این تحقیق میتواند زمینهساز پژوهشهای میانرشتهای در حوزههای فلسفه هنر، زیباییشناسی و تحلیل هنر مدرن باشد.</span>https://rahpooye.soore.ac.ir/article_731760_5d0b3f5b6ce5121cd5872a094e196618.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321Hypertextual analysis of "Amnesty International" poster from the perspective of Gerard Genet's hypertextualityتحلیل بیشمتنی پوستر”عفو بینالملل" از منظر بیشمتنیت ژرارد ژنت657573060710.22034/ra.2025.2046402.1494FAصفیهحاتمیدانشجوی دکترای هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، ایران.0000-0001-5557-7462اکرممحمدی زادهاستادیار دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، ایران.0000-0001-9847-3794آرزوخانپوراستادیار، دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، ایران.0000-0002-6881-8381Journal Article20241203Amnesty International’ is the title of a poster by Dariush Allahyari, inspired by the ‘Amnesty International’ logo, and was selected as one of the winning entries at the Postterrorism Competition (2019) in South Korea. Given the growing necessity of understanding the processes of meaning production and their representation in contemporary Iranian graphic design through modern theoretical approaches, the present study aims to interpret the work mentioned above through the lens of Gerard Genette’s theory of hypertextuality. According to the theory of intertextuality, texts are formed based on prior texts, or hypotexts. Among the contemporary developments of intertextuality is transnarrativity, introduced by Gerard Genette, which consists of five types. One of them is hypertextuality, which examines the relationship between a hypotext and hypertext based on derivation. Accordingly, intertextuality, along with hypertextuality, provides an appropriate approach for analyzing the processes of meaning-making and signification in works of art. This includes types of posters, which, due to their visual nature, are formed through the co-presence or derivation of multiple texts. The present qualitative study, conducted using a descriptive-analytical method, seeks to answer the following questions: 1. What semiotic systems have undergone imitation or transformation in the process of the ‘Amnesty International’ poster’s derivation from its hypotext, and in what manner? 2. What explicit and implicit meanings, whether consistent or contradictory with the ‘Amnesty International’ logo, are present in this work? The analysis of the poster’s communicative systems reveals that the ‘Amnesty International’ poster maintains a clear and explicit hypertextual relationship with its hypotext, the ‘Amnesty International’ logo. The elements of the hypotext are visibly retained in the hypertext, and the ‘Amnesty International’ sign remains fully recognizable to the viewer. Because the hypertext derives from a single hypotext, its hypertextuality is exclusive in type. The ‘Amnesty International’ sign, as a logo, serves the purposes of promotion, identification, and representation of the organization’s identity; however, Allahyari has redesigned it within the framework of a poster. Thus, the relationship between the two is not intrasemiotic, but rather intersemiotic or interdisciplinary. Moreover, these two works also exhibit intercultural relations, as they stem from different linguistic and cultural backgrounds. There is no significant temporal distance between the hypotext and the hypertext, as both belong to the contemporary period; therefore, the relationship between the two can be regarded as horizontal or synchronic. The data analysis demonstrates that the color system in the poster underwent a quantitative enhancing transformation, while the writing system experienced a reductive transformation compared to the hypotext. The changes in the visual system took the form of transformational displacement in the barbed wire and the candle, and a reductive transformation in the flame. The mirroring, the depiction of the dollar sign, and the extinguished candle convey implicit meanings such as the revelation of hidden financial relations, self-interest, and the organization’s inefficiency. Therefore, in analyzing the ‘Amnesty International’ poster, we ultimately observe a transformational relationship combined with a satirical function. From the intersection of this relationship and function, a travesty mode emerges, aiming to humiliate and subvert the hypotext. The analysis of the narrative elements in this work reveals a transmotivation that aligns with the heteromotivation type. The external motivations in the hypotext, specifically humanitarian assistance to political prisoners worldwide, have been replaced in the hypertext by internal motivations driven by personal and financial gain. Another qualitative transformation in the hypertext is a transvaluation of the devaluation type. The light, brightness, and symbolism of hope embodied by the candle, which in the hypotext carries a positive value, become extinguished in the hypertext due to the organization’s loss of functionality and effectiveness, thereby completely losing their original value. Likewise, a hypotext that conveys a narrative of outcry and heroism undergoes a tragic transformation in the hypertext, where the hero is turned into a negative figure; a process known as transheroization. The stable narrative present in the hypotext also undergoes a transtemporal transformation in the hypertext through the depiction of successive changes. Overall, although this work maintains a metatextual relationship with its hypotext and shows elements of imitation in certain parts, such as the textual sign and the primary logo placed at the top, this imitation serves to reinforce the critical function and convey the overarching message of the piece. This strong critique may appear subtle and latent at first glance, much like the inverted and extinguished candle depicted in the image. Therefore, this poster was not created to showcase a redesigned version of the ‘Amnesty International’ logo in two successive stages aligned with typical redesign objectives, but rather to portray the decline of the organization’s motivation and performance, and, consequently, the erosion of its values from the past to the present (the time of the artwork’s creation).<span dir="RTL" lang="FA">"عفو بینالملل" عنوان پوستری است برگرفته از نشانهای با همین عنوان که برگزیده مسابقه پوستروریسم 2019 کرهجنوبی شدهاست. با توجه به ضرورت شناختن بیشازپیش فرایند تولید معانی و نحوه بازنمایی آن در گرافیک معاصر ایران بر اساس نظریات جدید، پژوهش حاضر به دنبال این هدف بوده است که اثر مذکور را با رویکرد بیشمتنیت ژنت مورد تأویل قرار داده و از طریق رمزگشایی آن به این سوالات پاسخ دهد: 1-در فرایند برگرفتگی پوستر عفو بینالملل از پیشمتن آن چه نظامهای نشانهای و چگونه مورد همانگونگی یا تراگونگی قرارگرفته اند؟ 2-مفاهیم صریح و ضمنی، هماهنگ یا متضاد با لوگوی عفو بینالملل در این اثر کدامند؟ مقاله حاضر از نوع کیفی و به روش توصیفی-تحلیلی است. نتایج تحلیل دادهها نشان داد نظام رنگ دچار گشتار کمی افزایشی شده اما نظام نوشتاری علیرغم تقلیل کاهشی، از نظر مضمون دارای همانگونگی با پیشمتن است. تغییرات در نظام تصویری بهشکل تراگونگی افزایشی با تکثیر لوگو، جابجایی در سیمخاردار و شمع و تراگونگی کاهشی در شعله بوده است. قرینهشدن، نمایش دلار و خاموشی شمع دربردارنده مفاهیم ضمنی همچون هویدا شدن مناسبات مالی پنهان، منفعتطلبی و ناکارآمدی سازمان است. لذا این اثر نسبت به پیشمتن دارای کارکرد طنز از نوع تراوستیسمان است. همچنین بررسی عناصر روایی نشان از تراانگیزشی از نوع دگرانگیزشی و تراارزشی از نوع ارزشزدایی و تراقهرمانی در بیشمتن دارد. بنابراین هرچند در این اثر بینافرهنگی که با پیشمتن خود دارای رابطه فرامتنی نیز هست در بخشهایی شاهد تقلید هستیم، اما این تقلید در جهت کمک به کارکرد انتقادی اثر و در جهت انتقال پیام کلی یعنی نمایش مراحل افول انگیزه و عملکرد سازمان عفو بینالملل و در نتیجه از بین رفتن ارزشهای آن از گذشته تا حال در دو مرحله بازطراحی بوده است.</span>https://rahpooye.soore.ac.ir/article_730607_792fc62c60fb80426d1e43e1827f7b78.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321The Iconology of Human Motifs in Three Yazd Fabrics from the Safavid Eraآیکونولوژی نقوش انسانی در سه قطعه پارچههای عصر صفوی یزد779072829710.22034/ra.2025.2036124.1462FAمریممونسی سرخهعضو هیات علمی گروه طراحی پارچه و لباس، دانشکده هنر، دانشگاه الزهرا(س)، تهران، ایران.0000-0002-2803-7759Journal Article20240910In the Safavid era, fabric motifs reached their high and valuable level, and the weavers, with the motifs they created, were looking for the occurrences of everyday events, history, identity, culture and religion of their timeIn general, Safavid fabrics consist of two periods: the first period was the time of Khwaja Ghiyath al-Din, who patterned small designs on the surface of the fabric and created harmony in the patterns throughout the fabric. The second period, the patterns used in the fabrics were inspired by painting and the school of Reza Abbasi, and the designs were larger than the previous period, and the boundaries between these large-patterned designs were filled with secondary designs such as plant motifs. Therefore, by knowing the patterns and meanings hidden in it, one can understand the hidden secrets. Iconology is a method or approach to interpreting a work of art. Iconology has three stages: description, recognition, and interpretation. In general, the science of illustration, or iconology, as an approach, deals with the matter to which the work belongs. It is reconstructed and therefore does not only include text and writing, but also includes the artistic context. From Panofsky's perspective, when dealing with the content of a work, perception and understanding of its meaning occur in three stages: pre-iconography (description stage), iconography (recognition stage), and iconology (interpretation stage). The main goal is to reach the effective components in the iconology of human motifs of Safavid fabrics of Yazd. The main question is, what are the hidden and visible layers of human motifs in the Safavid fabric of Yazd based on the iconology approach? In the Safavid period, human motifs, which are seen in various works of traditional art in a broken and summarized form, are used less than other motifs, and the human motif is rarely seen in a broken form. In some traditional works of this period, the human motif is designed as an object, usually shown from the front. It should be noted that the human motif in Safavid fabrics is sometimes based on old stories. Also, hunting motifs and everyday events are usually reserved for the first and second periods of Safavid weaving. In the Safavid period, human motifs, which are seen in various works of traditional art in a broken and summarized form, are used less than other motifs, and the human motif is rarely seen in a broken form. The current research is qualitative with descriptive, historical and analytical method and using the iconology approach in three stages of description, diagnosis and interpretation on three Safavid fabrics belonging to the city of Yazd and with the method of collecting library information. In order to identify and recognize the main drawn icon, related visual and written sources have been examined. In Safavid cloth weaving, it found a wider scope and the activists gained more economic, political, cultural and symbolic capital by using new facilities and abilities to gain their political, social and cultural legitimacy. The role and attention of supporting institutions in nurturing artists and their activity (which was clearly influenced by the authority of the Safavid kings in various social roles) to the field of art and artists, and also to the development of facilities and the attention and desire of other art professors to the precise designs of cloth, made cloth weaving to have a special rank in the field of art. In this era, the royal families and people in the higher classes were the main supporters who put a lot of emphasis on increasing the quantitative and qualitative level of artistic productions. The importance of fabric designs in this period for the kings was to such an extent that the rulers had a special supervision over this art. In general, human motifs based on their placement in the fabric, gender and clothing are a symbol of love and affection. In addition, it is not based on any specific traditions and is based only on the story of Khosrow and Shirin in the Khamseh Nizami.<span dir="RTL" lang="FA">بافندگان دوره صفوی با نقوشی که بر روی پارچهها خلق میکردند، به دنبال ثبت رخدادهای روزمره، تاریخ، هویت، فرهنگ و دین زمان خود بودند. لذا با شناخت نقوش و معانی پنهان در آن میتوان راز و رمزهای نهفته را ادراک نمود. هدف پژوهش، رهیافت به مؤلفههای مؤثر در آیکونولوژی نقوش انسانی پارچههای صفوی یزد است و سوال پژوهش، این است که لایههای معنایی نهان و هویدای نقوش انسانی در پارچه صفوی یزد مبتنی بر رویکرد آیکونولوژی چگونه است؟ پژوهش حاضر، کیفی با روش توصیفی، تاریخی و تحلیلی و با استفاده از رویکرد آیکونولوژی در سه مرحله توصیف، تشخیص و تفسیر روی سه پارچه صفوی متعلق به شهر یزد و با شیوه گردآوری اطلاعات کتابخانهای انجام شده است. نتایج نشان داد که پیکرههای انسانیِ منقوش در پارچهها (درباریان شاه)، لباس فاخری بر تن دارند که نماد قدرت درباری و نماینده شاه بوده و اقتدار او را به نمایش میگذارند. نشانی از ملیتگرایی ایرانی و حفظ اصالت و انتصاب به درباریان است که در جهت نمایش شکوه پادشاه صفوی زینت یافتهاند. با این تفاسیر نقوش انسانی، ریشه در اندیشه مذهب رسمی و حاکمیت سیاسی صفوی دارد و بیانگر ایدئولوژی دوران است. نقوش انسانی در پارچههای دوره صفوی برای انتقال این پیام هستند که شاه از سمت خداوند انتخاب شده و قدرت و اقتدار بشر در دست اوست. این نقوش بالاخص آنهایی که به تصویر کشیدن درباریان پرداختهاند، کوششی برای مشروعیتدادن به قدرت شاه این دوره بوده است. در کنار نقوش انسانی، نقوش گیاهی، نماد باروری، حیات، برکت و چرخه زندگی هستند.</span>https://rahpooye.soore.ac.ir/article_728297_0aadc8866ced2739609eb613a486ac2b.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839120260321Components of Presence and Effective Interaction with Artwork in Virtual Reality Mediaمولفههای حضور و تعامل موثر با اثر هنری در رسانه واقعیت مجازی9110873413010.22034/ra.2026.2050057.1506FAزهرارهبرنیادانشیار، گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا(س)، تهران، ایران.0000-0002-6679-5323نگارکاظمی اِسفهدانشجو دکتری، پژوهش هنر، دانشکده هنر، دانشگاه الزهرا(س)، تهران، ایران.0000-0002-4040-9228Journal Article20250106Virtual Reality (VR) has established itself as a profoundly immersive and interactive medium, catalyzing a paradigm shift across scientific, educational, and, most notably, artistic fields. This transformative technology redefines the traditional dyad of the viewer and the artwork by introducing a dynamic, multi-sensory, and participatory framework for engagement. At the heart of this redefinition lies the pivotal psychological construct of "presence"—the compelling illusion of non-mediation and the subjective sensation of "being there" within a computer-simulated environment. This research posits that the active, presence-driven interaction afforded by VR does not merely enhance the aesthetic appreciation of an artwork; it fundamentally transforms the user's cognitive and perceptual journey, enabling a profound process of meaning-making, co-creation, and embodied understanding that is unattainable through conventional passive observation. The central aim of this study is to systematically delineate the role of presence and user interaction within VR media and to articulate the precise mechanisms through which this technology facilitates a more effective and impactful comprehension of artworks. The research question guiding this inquiry is: How does a more effective understanding of an artistic work realized through the mechanisms of presence and interaction in Virtual Reality media? To address these issues, the study adopts a descriptive-analytical research methodology, grounded in an interdisciplinary synthesis of art theory and computer science. Its theoretical foundation is deeply rooted in cognitive science, drawing principally upon the concept of "Presence" as pioneered by "Marvin Minsky" and subsequently expanded by scholars such as Lombard, Ditton, Slater, and Hartmann. Data for this theoretical exploration was gathered through extensive library research, which was then applied to a critical case study: the meticulous analysis of American artist "Estella Tse's" virtual reality re-creation of "Gustav Klimt's" masterpiece, "The Kiss," executed using the Google "Tilt Brush" application. The investigation begins by establishing a robust theoretical framework for understanding presence. Initially conceptualized by Minsky in the context of teleoperation, presence is defined here as the perceptual and psychological experience of being physically located in a mediated space, an experience so potent that the user responds to the virtual environment as if it were their primary reality. The study differentiates this core concept from related but distinct technological properties, arguing that presence is the "subjective response" to the "objective capabilities" of the VR system. This framework is crucial for analyzing how art is experienced in VR, as it shifts the user's role from an external critic to an internal participant. The core of this research's contribution lies in its identification and elaborate exposition of five interdependent components that collectively orchestrate the sensation of presence and enable effective artistic interaction in VR. These components form a synergistic ecosystem: 1. Presence (The Sense of Being): This is the overarching psychological state and the ultimate goal of the VR experience. It is the user's qualitative feeling of inhabiting the virtual world, a sensation of "placeness" that makes the artwork feel like a space to be within, rather than an object to be viewed from the outside. It is an emergent property resulting from the successful integration of the following four factors. 2. Attention (Cognitive Focus): For presence to manifest, the user's cognitive resources must be fully allocated to the virtual environment. VR systems achieve this by eliminating external physical distractions through head-mounted displays and by designing compelling content that captivates the user's perceptual and mental focus. Attention acts as the gateway, directing the user's consciousness away from the physical world and into the narrative and formal constructs of the virtual artwork. 3. Realism (Believability): This component refers to the fidelity with which the VR environment simulates sensory data. It operates on two axes: sensory breadth, which is the number of sensory channels engaged (e.g., stereoscopic vision, spatial audio, haptic feedback), and sensory depth, which is the resolution, richness, and accuracy of the information within each channel. High realism fosters believability, convincing the user's brain to accept the virtual world as a plausible reality, thereby suspending disbelief and strengthening the foundation for presence. 4. Immersion (Sensory Enclosure): Distinguished from presence, immersion is the objective, technology-driven property of the VR system. It is the system's technical capacity to deliver a surrounding, continuous, and vivid stream of sensory information that shut out the physical world. Characteristics such as a wide field of view, high-resolution displays, precise head-tracking, and 360-degree engagement contribute to the level of immersion. It is the necessary technical substrate upon which the psychological experience of presence is built. 5. Interaction (Agency and Reciprocity): This is the dynamic, two-way dialogue between the user and the virtual environment. It is the user's capacity to enact meaningful changes within the VR space and receive immediate, congruent feedback. In the context of art, this transforms the user from a passive recipient into an active agent or co-creator. The ability to manipulate virtual tools, navigate the artistic space freely, and alter the digital canvas empowers the user, creating a sense of agency that is fundamental to a deep and personal connection with the artwork. The case study of Estella Tse's re-imagining of Klimt's "The Kiss" serves as a powerful empirical validation of this five-component model. Tse's creative process, documented through her use of Tilt Brush, vividly illustrates the sequential and cumulative activation of these factors. The donning of the VR headset initiated a state of deep "immersion, " focusing her "attention" exclusively on the virtual task. The use of motion controllers to draw in three-dimensional space established a fluid and intuitive "interaction, " while the high-fidelity visuals and responsive tools enhanced the "realism" of the creative act. The convergence of these elements generated an intense sense of "presence, " which Tse described as a feeling of being inside the painting, empathizing with Klimt's process, and even feeling a responsibility to complete the work from his perspective. This experience epitomizes the concept of "lived Art, "where the artwork is not a static representation but a dynamic, inhabitable environment with which the user develops a profound, embodied relationship. In conclusion, this research demonstrates a fundamental evolution in the paradigm of artistic presentation and reception. The traditional model, characterized by a passive viewer confronting a static object within a confined space like a museum, is being superseded by a new, VR-mediated model. In this new model, the user is an active, embodied, and influential participant within an unbounded artistic universe. The synergistic effect of presence, attention, realism, immersion, and interaction leads to a more effective transmission of complex artistic concepts, a significant amplification of creative expression, and a more profound and lasting educational impact. Consequently, Virtual Reality is not merely a novel tool for displaying art; it is a transformative medium that reconfigures the very relationship between humanity and artistic creation, offering a deeper, more participatory, and inherently personal pathway to experiencing and understanding art. It holds the potential to democratize art education, redefine museums as experiential spaces, and unlock new frontiers for creative exploration.<span lang="AR-SA">رسانه واقعیت مجازی بهعنوان محیط تعاملی فراگیر، کاربردهای گستردهای در حوزههای علمی، آموزشی و هنری پیدا کرده است. این فناوری با ایجاد امکان تعامل عمیقتر بین مخاطب و اثر هنری، تأثیرات چشمگیری بر درک و دریافت هنر داشته است. یکی از کلیدیترین عوامل این تأثیرگذاری، مفهوم "حضور" است که از طریق کنش متقابل مخاطب با رایانه شکل میگیرد. این حضور فعال، نهتنها درک مخاطب از اثر هنری را غنیتر میسازد، بلکه امکان ساخت، تکمیل و تعامل معنادار با مفاهیم اثر را نیز فراهم میآورد</span><span dir="LTR">.</span><span lang="AR-SA">هدف این پژوهش، تبیین نقش حضور و تعامل مخاطب در رسانه واقعیت مجازی و پاسخ به این پرسش است که چگونه این فناوری میتواند به درک مؤثرتر آثار هنری منجر شود. روش پژوهش بهصورت توصیفی-تحلیلی و با اتکا به نظریههای حوزه علومشناختی، به ویژه نظریه "حضور" مینسکی، طراحی شده است. گردآوری اطلاعات نیز با شیوه کتابخانهای به خوانش اثر"نگهبان شب" رامبراند که توسط هنرمند آمریکایی "استلا تسه" در محیط واقعیت مجازی بازآفرینی شده است، میپردازد</span><span dir="LTR">. </span><span lang="AR-SA">برآیند مقاله نشان از آن دارد که در دنیای جدید و مخاطب جدید، شیوه ارائه اثر از شکل سنتی(شکل معمول) به شکل جدید که همان ارائه در رسانه واقعیت مجازی است، تغییر میکند. زیرا در شکل ارائه معمول، مخاطب در برابر اثر منفعل و صرفاً تماشاگر است و امروزه محیط رسانه با ایجاد کنشگری، غوطهوری و مهمتر از همه حس حضور در فضای اثر هنری، به انتقال مؤثرتر مفاهیم آثار، تقویت خلاقیت و تسهیل فرایند یادگیری منجر میگردد. بنابراین، واقعیت مجازی نهتنها شیوه تعامل با هنر را دگرگون کرده، بلکه امکان تجربهای عمیقتر و پویاتر از آثار هنری را برای مخاطبان فراهم آورده است.</span>https://rahpooye.soore.ac.ir/article_734130_8f8baa86f60350b22815692ace19dbd1.pdf