دانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622Decorations of the Exterior Façade of Imamzadeh Ishaq (A.S.) in Gorgan Attributed to the Seljuk and Timurid Erasتزئینات نمای بیرونی امامزاده اسحاق(ع) گرگان مربوط به دوره سلجوقیان و تیموریان51673175910.22034/ra.2025.2047672.1497FAبهارهمعیریگروه هنرهای اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.0000-0003-4866-8301مهنازشایسته فرگروه هنرهای اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.0000-0002-3537-0269Journal Article20241207Religious buildings have always been one of the main components of Islamic cities, serving as the most prominent architectural elements that define the identity of Islamic cities. Due to their religious significance, these structures hold a special place in the historical fabric of Islamic cities. As such, some of the richest designs and decorative forms, especially in brickwork decorations, are found in these buildings. Decoration is a fundamental aspect of Islamic architecture, with a substantial portion of its style dedicated to embellishment. One notable example of such heritage is the shrine of Imamzadeh Ishaq (PBUH), also known as Imamzadeh Noor (PBUH). This structure features intricate inscriptions, brick muqarnas from the Seljuk era, and a wooden door dating back to the Timurid period on its exterior façade. It is said that Ishaq, the son of Musa ibn Jafar (PBUH) and the brother of Imam Reza (PBUH), intended to migrate to Khorasan. However, he was martyred during a chase in the region of Esterabad (modern-day Gorgan) and was buried there. Today, Imamzadeh Ishaq (PBUH) is considered one of the spiritual and cultural treasures of Gorgan. Out of respect and reverence, the local people refer to him as Shahzadeh Ishaq. Since the 6th century AH, they have constructed a beautiful mausoleum in his honor. The oral traditions passed down through generations in Gorgan are filled with stories highlighting the people's deep devotion to Imamzadeh Ishaq (PBUH). They recount instances of a radiant light emanating from the shrine to the heavens, a phenomenon repeatedly narrated by their ancestors. This is why the locals also refer to him as Imamzadeh Noor (PBUH), or the "Illuminated Imamzadeh." According to cultural heritage documents, the shrine of Imamzadeh Ishaq (PBUH) is officially registered as a national heritage site under number 346. In 2005, archaeological excavations were conducted north of the shrine, uncovering artifacts from the late Sasanian era, the early Islamic period, and the 3rd to 7th centuries AH. These cultural findings included architectural remains, fragments of glassware, pottery, and other objects. According to Gorgan's cultural heritage records, the shrine's structure features a dodecagonal (12-sided) plan with triangular projections extending outward from each vertex of the exterior sides. These projections continue upwards to the top of the façade. Each side measures about two meters from the outside and seven meters from the inside, with the height of the structure reaching eight meters to where the roof begins. For centuries, the courtyard of this shrine has been one of Esterabad's main cemeteries and the final resting place of many prominent figures of the region. The gravestones, some dating back 400–450 years, indicate that this cemetery has been in use for at least 600 years. These historical gravestones are now preserved in the Gorgan Palace Museum. The inscriptions on the shrine's wooden door and tombstones have led to various speculations about its construction date. However, current findings suggest the shrine was built during the Seljuk period. To address the research question of this study, the external decorative elements of the Imamzadeh Ishaq (PBUH) shrine were analyzed and examined. The findings reveal that the external surfaces of the shrine are adorned with brick decorations featuring diverse patterns, including floral designs, geometric motifs, and relief work. The brickwork’s intricate patterns, particularly the geometric designs, are consistent with decorative styles used in Seljuk-era mosques and minarets. Moreover, the decorative inscriptions and muqarnas work on the shrine demonstrate a harmonious balance, symmetry, and an interplay of positive and negative spaces. These elements reflect principles of aesthetics meticulously adhered to by the artisans. The finely detailed brick decorations highlight the craftsmanship and mastery of the builders, who breathed life into a seemingly simple structure with the creative use of bricks. Additionally, the shrine houses a pair of antique wooden doors, renowned for their stunning carved details. The doors feature exquisite floral and arabesque motifs, with a medallion-like central design and carved inscriptions along the frame. Dated to 867 AH, these doors are remnants of the Timurid period. The intricate craftsmanship involved in their creation demonstrates a blend of technical skill and artistic vision. The symmetrical designs and predetermined patterns on the doors further emphasize the aesthetic sensibility of the artisans. The unique decorations of these doors not only enhance their historical value but also provide insight into the thoughtfulness of their creators. Every aspect, from the technical construction to the choice of patterns, was carefully planned, making these doors significant works of art in their own right. This research aims to highlight a segment of Iranian-Islamic art, emphasizing the importance of preserving and reviving such architectural traditions. By drawing attention to these cultural treasures, we take a step toward enriching and reclaiming the authentic style and identity of Islamic-Iranian architecture on a global scale.امامزاده اسحاق(ع)، زیارتگاه تاریخی و از بناهای دوره سلجوقی می‌باشد. نمای بیرونی امامزاده دارای کتیبه‌ها و مقرنس‌کاری آجری مربوط به دوره‌ی سلجوقیان و درب چوبی متعلق به دوره‌ی تیموریان است. از سده‌ها قبل حیاط این امامزاده از گورستان‌های اصلی استرآباد و محل دفن رجال و افراد شهیر این منطقه بوده است؛ با سنگ قبرهایی که گاه متعلق به 450-400 سال پیش می‌باشد و اکنون در کاخ موزه گرگان نگهداری می‌شود. هدف از پژوهش حاضر تجزیهوتحلیل و شناخت ویژگی‌های بصری و زیبایی‌شناختی تزئینات نمای بیرونی امامزاده اسحاق(ع) است. این پژوهش از نظر نوع تحقیق، کاربردی-توسعه‌ای و از زوایای مختلف هنری با تکیه بر روش توصیفی- تحلیلی و تاریخی و نیز با بهره‌گیری از شیوه کتابخانه‌ای، اسنادی و به‌صورت میدانی مورد مطالعه قرار گرفت. در تجزیهوتحلیل، ابتدا به بیان مضمون و ویژگی تزئینات گرافیکی امامزاده اسحاق(ع) پرداخته شد؛ سپس، تزئینات این بنا اجرا و نتایج حاصل از آن به روش توصیفی- تحلیلی ارائه گردید. نتایج حاصل از این پژوهش نشان می‌دهد، تزئینات جزء اصلی معماری امامزاده اسحاق(ع) است و بخش عمده‌ای از معماری اسلامی به تزئینات اختصاص دارد. در تزئینات نمای بیرونی امامزاده اسحاق(ع) مفاهیم هندسی آجرکاری و منبت‌کاری به خوبی رعایت و اصول زیبایی‌شناختی در این بنا مورد توجه قرار گرفته است. تزئینات چوبی و آجری ظریف و زیبای بنا نشان از هنرمندی و تسلط سازندگان می‌دهد که چگونه با کمترین مصالح، به این بنای ساده روح و جان بخشیده‌اند.https://rahpooye.soore.ac.ir/article_731759_bfb5ff2436379735c07f9281a8eed460.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622The Representation of Gothic Elements in the Thriller Bark Arc of the One Piece Animeبازتاب مؤلفه‌های گوتیک در آرک تریلربارک انیمه وان پیس172773332010.22034/ra.2025.2057615.1543FAشکیبامرادی ملایری فرکارشناس ارشد تصویرسازی، دانشکده هنر، دانشگاه سوره، تهران، ایران0009-0001-4474-2474رضابهمنیاستاد مدعو، دانشکده هنر، دانشگاه سوره، تهران، ایرانJournal Article20250411The anime One Piece, written by Eiichiro Oda and produced by Toei Animation for over two decades, stands as one of the longest-running works in the shonen genre. Adapted from its original manga, it explores profound human themes through fantastical adventures. This study focuses on the Thriller Bark story arc to analyze Gothic elements across three axes: architecture, atmosphere, and characterization. The central research question investigates how Gothic motifs are reflected in these dimensions and their role in reinforcing themes of death, human mortality, and confrontation with the supernatural. Employing a descriptive-analytical methodology, the research combines library studies, documents, and frame-by-frame analysis of the anime.<br>Findings reveal that Gothic elements manifest in the architecture of Hogback’s mansion (reminiscent of Notre-Dame Cathedral), dramatic lighting, expressionist-inspired visuals such as references to Edvard Munch’s The Scream and characters like zombies, the skeleton musician Brook, and Dr. Hogback, who manipulates life and death. These characters symbolically reimagine death and its existential implications, zombies embody the grotesque revival of death, Brook personifies life after death, and Dr. Hogback highlights the ethical dangers of scientific interference with mortality. Together, these elements reflect conflicts between science and ethics, the fear of death, and human impermanence. A dark color scheme dominated by purples and blues creates an atmosphere of mystery and dread. a dark color palette dominated by purples and blues further cultivates an atmosphere of ambiguity and dread.<br>The study concludes that the integration of Gothic aesthetics into One Piece’s contemporary narrative not only enriches the work’s visual and thematic depth but also creates contrasting medieval-inspired settings with the anime’s fantasy world. This contrast invites modern reflections on humanity’s limitations in confronting mortality. By blending Gothic themes into its narrative, One Piece becomes an interdisciplinary work that appeals to general viewers while offering opportunities for philosophical and cultural critique.<br>The Thriller Bark Arc in One Piece is filled with intentional symbols linked to Gothic-fantasy horror. Thriller Bark is not an island but the largest pirate ship in the One Piece world. The castle’s architecture and zombie knights evoke Gothic aesthetics, characterized by towering spires and macabre motifs. This arc employs a harmonious blend of visual and narrative elements, such as Gothic church architecture and structures featuring intricate details like pointed arches, darkened spaces, and symbolic characters. The arc’s color palette focuses on purple, blue, and gray, creating a cool-toned environment. Warm colors like yellow or orange are used to highlight specific scenes, joyful memories, or emotions. Fog throughout the story intensifies the eerie mood.<br>The contrast between darkness and light is a key theme: characters trapped in despair lack shadows and cannot stand in sunlight, which symbolizes hope and enlightenment. Cool colors (purples/blues) in horror scenes clash with warm hues in triumphant moments, visually marking the story’s shift from despair to redemption. This duality extends to character design; for instance, Victoria Cindry, a zombie inspired by Gothic female archetypes, strives to break free from the patriarchal domination of Dr. Hogback. Despite her soulless undead state, her struggle underscores the lingering remnants of her human identity, emphasizing themes of autonomy and resistance.<br>The cross is used repeatedly in this artwork, appearing in mourning ceremonies, wedding ceremonies, warding off evil creatures, building architecture, cemeteries, and character costumes. The presence of a priest wearing a hat marked with a cross is observed in wedding ceremonies. The character Kuma, who holds the Holy Bible, is distinguished by a radiant halo amidst the dark surroundings. The cross is elevated from a mere religious symbol to a narrative device with protective, ritualistic functions and the power to instill hope within a terrifying space.<br>Similarly, Monkey D. Luffy embodying light stands in stark opposition to Gecko Moria, a symbol of darkness. Their conflict propels characters from corruption toward salvation, culminating in light’s ultimate victory, which evokes a cathartic release in the audience. The findings further reveal that Gothic elements in the Thriller Bark arc permeate its storytelling, atmosphere, characterization, color schemes, and architecture. Hogback’s mansion, for example, evokes Notre-Dame Cathedral in France, with its towering, ominous structures that impose grandeur upon viewers, directly channeling Gothic architectural principles such as verticality and sublime dread.<br>Iran’s architectural heritage and horror-rich folklore could inspire animators to reinterpret indigenous narratives through modern techniques. By merging ancient archetypes with modern digital world building techniques, Iranian animators could produce works of unique national identity. Such an approach would not only enhance the cultural resonance of Iranian animation but also demonstrate how traditional motifs can be revitalized through contemporary mediums, bridging historical legacy with innovative storytelling.انیمه‌ی وان‌پیس اثر ائیچیرو اودا که بیش از دو دهه از تولید آن توسط استودیو توئی انیمیشن می‌گذرد، به‌عنوان یکی از طولانی‌ترین آثار ژانر شونن، با اقتباس از مانگای همنام، به بررسی مفاهیم عمیق انسانی در قالب ماجراجویی‌های فانتزی می-پردازد. این پژوهش با تمرکز بر آرک تریلربارک، به تحلیل مؤلفه‌های گوتیک در سه محور معماری، فضاسازی و شخصیت-پردازی می‌پردازد. پرسش محوری، چگونگی بازتاب الگوهای گوتیک در فضاسازی، شخصیت‌پردازی و معماری این آرک و نقش آن در تقویت درون‌مایه‌های مرگ، فناپذیری انسان و تقابل با امر ماورایی است. روش تحقیق، توصیفی - تحلیلی با استفاده از مطالعات کتابخانه‌ای، اسناد مرتبط و بررسی فریم‌های انیمه است. یافته‌ها نشان می‌دهد عناصر گوتیک در معماری عمارت هاگ‌باک مشابه با کلیسای نوتردام، نورپردازی دراماتیک، تابلوهای اکسپرسیونیستی مانند ارجاع به اثر جیغ ادوارد مونک تجلی می‌یابند. شخصیت‌هایی چون زامبی‌ها با بازآفرینی مرگ، بروک تجسم زندگی پس از مرگ، و دکتر هاگ‌باک با دست‌کاری مرگ از طریق علم، تقابل میان اخلاق، علم و تقدیر را نمایندگی می‌کنند و هراس از مرگ و فانی بودن انسان را بازتاب می‌دهند. پالت رنگی تیره با تأکید بر بنفش و آبی، فضایی توأم با ابهام و هراس ایجاد می‌کند. تلفیق سبک گوتیک با روایت معاصر وان‌پیس، نه‌تنها به غنای زیبایی‌شناختی اثر افزوده، بلکه با ایجاد تضاد بین فضای قرون‌وسطایی و جهان فانتزی انیمه، بازاندیشی مدرنی درباره‌ی محدودیت‌های انسان در مواجهه با مرگ را ارائه می‌کند. این رویکرد، وان‌پیس را به متنی بینارشته‌ای تبدیل می‌کند که برای مخاطبان جذاب است.https://rahpooye.soore.ac.ir/article_733320_4f938235b6b4088cc02c54a792f8de6f.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622Analysis of the representation of women, anger, violence and the supernatural in the Eastern paintings of One Thousand and One Nights and the depiction of Western ideological translations with an emphasis on intertextuality theoryتحلیل بازنمایی زن، خشم وخشونت و ماوراء الطبیعه در نگاره های شرقی هزارویک شب و تصویرسازی ترجمه‌های ایدئولوژیک غربی باتاکیدبر نظریه بینامتنیت294073412910.22034/ra.2026.2050037.1507FAصادقوهابی شکرلوکارشناسی ارشد پژوهش هنر، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران0009-0002-5750-080Xحسینعابددوستدانشیار گروه ارتباط تصویری، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران0000-0001-6413-9130Journal Article20250107One Thousand and One Nights was translated into French by Antoine Galland, marking its first translation into European languages. Galland's translation was published in Paris between 1704 and 1717 and inspired subsequent translations. These translations were not free from alterations and, in some cases, such as Richard Burton's translation, were accompanied by annotation techniques. Orientalist translators, through their study of One Thousand and One Nights and a collection of diverse related images, were deeply influenced by this work.<br>The visual elements of One Thousand and One Nights had a profound impact on the Western imagination, inspiring many European illustrators to create artworks based on these stories. These illustrations played a key role in shaping the Western cultural perception of the text. With Antoine Galland's translation from Arabic to French, the work became widely recognized in European cultural circles, and throughout the 19th century, the number of illustrated editions grew significantly. Over time, numerous illustrated versions of One Thousand and One Nights were produced for both children and adults. In addition to illustrated books, modernist artists created independent paintings inspired by the stories of One Thousand and One Nights.<br>According to the theory of intertextuality, reading a text occurs in relation to other texts, and a text cannot be understood as an independent system. Gérard Genette, one of the second-generation theorists of intertextuality, concluded from his study of illustrated books that texts and images in books never appear as two completely separate and unrelated systems; rather, due to their dependence on two different symbolic systems, they interact and converse with each other in a shared space. The research question is: what intertextual relationships exist between Western illustrations of One Thousand and One Nights and the literary text of the Eastern version and its ideological translation?<br>The research aims to examine the intertextual relationships between Western illustrations of One Thousand and One Nights based on its translation and study the stereotypical approach of Western illustrations in creating an Eastern atmosphere. The research method is descriptive-analytical, and the information has been collected through library methods using books and articles. Western translators, as a branch of Orientalist scholarship, provided ideological translations of One Thousand and One Nights, which subsequently gave rise to Western depictions of the text.<br>These depictions, in turn, constructed an image of the Eastern world based on Western perceptions and Orientalist stereotypes. This study aims to analyze the intertextual relationships between Western and Eastern portrayals of One Thousand and One Nights, focusing on the ideological translations and their implications. The research results show that Western illustrators, based on the translated texts of One Thousand and One Nights and the stereotypes produced in the works of Orientalist painters, attempted to depict Muslims as the 'Other,' fundamentally different from Western societies; as a result, the Eastern world of One Thousand and One Nights was created according to a Western perspective.<br>Sexual stereotypes of nude and semi-nude women, common in the works of Orientalist painters such as Delacroix, Gérôme, and others, were subsequently appropriated by Western illustrators in their depictions of women in One Thousand and One Nights. In these representations, the role of women in Islamic societies was reduced to mere sexual objects serving voyeuristic purposes. Furthermore, the Islamic setting of the One Thousand and One Nights narratives was often distorted through a Western lens, providing a pretext for the creation of Orientalist imagery. <br>Additionally, the illustration of One Thousand and One Nights, influenced by Western ideological translations, shows the intertextual effects of Orientalist painters. The translation of One Thousand and One Nights served as a key tool of Orientalism, reshaping the narratives to construct a dominant ideology in the relationship between the West and the Islamic world, thereby aiding the West in the stereotyping of Islamic societies. The images created through the translation of One Thousand and One Nights were often shaped by the stereotypes established in Orientalist scholarship, reducing Islam to a simplistic and primitive belief system. These portrayals played a significant role in the Orientalist project, as they had the power to either reinforce or challenge particular ideas in the minds of audiences, thus embedding the intended meanings within their perceptions. <br>In this context, Orientalist painters also played a significant role, serving as a source of inspiration for the illustrators of One Thousand and One Nights. Drawing on Gérard Genette's concept of intertextuality, a hypertextual relationship of a transformative nature emerged between the Eastern text of One Thousand and One Nights and the works of Western illustrators, as the Islamic ambiance of the narratives was modified to reflect the Orientalist agendas of these artists. Additionally, these visual interpretations were often produced through the emulation of the styles of Orientalist painters, creating a hypertextual bond of imitation. In contrast, Eastern illustrators, grounded in the literary text of One Thousand and One Nights and uninfluenced by the motivations of Orientalist discourse, reimagined its tales with greater fidelity to the original narratives.هزارویک‌شب یکی از مهم‌ترین آثار ادبی کهن در جهان است که تأثیر عمیق سنت‌های فرهنگی و تصویری شرق در آن ظهور یافته است. این اثر توسط آنتوان گالان به فرانسوی برگردانده شد و الهام‌بخش ترجمه‌های پس از آن گردید. پرسش تحقیق حاضر اینست که چه موارد شباهت و تفاوتی میان تصویرگری شرقی از هزارویک شب و تصویرگری نسخ ترجمه شده غربی از هزارو یک شب وجود دارد. برای تحلیل تمایزها و شباهت‌ها و روابط بینامتنی میان آثار تصویری هزارو یک شب سعی براینست از دیدگاه بینامتنیت و با تمرکز بر سه مولفه بازنمایی زن، خشم و خشونت و ماوراءالطبیعه استفاده شود. روش تحقیق توصیفی تحلیلی است. روش گردآوری مطالب کتابخانه‌ای از طریق یادداشت‌برداری و تصویرخوانی است. تجزیه و تحلیل داده‌ها کیفی است. نتایج پژوهش نشان می‌دهد بازنمایی تصویری هزارویک شب در شرق مبتنی بر فرهنگ شرقی و از طریق احترام به حریم زن و منع عریان‌نگاری، واقع‌نمایی صحنه‌های جنگ و خشونت و حفظ حریم بازنمایی ماوراء الطبیعه صورت گرفته است و از نظر فرم و محتوا کاملا با تصویرسازی ایدئولوژیک غربی متمایز است. تصویرسازی ترجمه‌های غربی از هزارویک شب مبتنی بر سه مولفه عریان‌نگاری زنان ، خشم و خشونت درشرق و شرق خیالی است. این آثار از نظر فرم و محتوا ارجاع به فرهنگ غربی دارد. رابطه بینامتنیت در تصویرسازی غربی با نقاشی غربی دیده می شود که از نوع تراگونگی است. در زمینه فضای معماری و آرایه‌های تزیینی بینامتنیت کلیشه‌ای میان تصویرسازی هزارویک‌شب متأثر از ترجمه‌های ایدئولوژیک غربی و آثار نقاشان شرق‌شناس دیده می‌شود.https://rahpooye.soore.ac.ir/article_734129_8f8054fb306e39d8119654da9ca74f6a.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622An analysis of the symbol of "Farra" from the perspective of visual features in the illustrations of the Qajar Shahnameh (d1020) preserved in the Smithsonian Museumواکاوی نماد «فرّه» از منظر ویژگی های بصری در نگاره های شاهنامه قاجاری (d1020) محفوظ در موزه ی اسمیتسونین415473853310.22034/ra.2026.738533FAزینبکریمی بابااحمدیدانشجوی دکترای تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.0009-0002-9953-2658الههپنجه باشیدانشیار گروه نقاشی دانشکده هنر دانشگاه الزهرا0000-0001-5631-8622Journal Article20250331رThe Shahnameh is rich in the use of symbolic and symbolic systems, including "farrah"; The Shahnameh has been favored by painters in different periods. Emphasis on the signs in the pictorial manuscripts is done by simultaneously researching the system of pictorial and textual signs. This is because the concepts in the pictorial manuscripts from the Qajar period onwards, in addition to paying attention to the textual systems, are more prominent in terms of personalization. The aim of this article is to examine how the "farrah", which is one of the prominent symbols of Shahnameh painting, is depicted, and to find and classify their types and characteristics, specifically in a Qajar Shahnameh specimen preserved in the Smithsonian Museum, which has not been researched.<br>The main question of this research: What elements does the symbol "Farra" appear with in the Shahnameh under study? The research method is descriptive-analytical and the method of collecting library and documentary information is the importance of this research in pursuing the above issues in the Shahnameh and its pictorial version and its necessity is that the images of the version under study have not been studied so far with a focus on the concept of symbology and farreh. The research population is the images of the Shahnameh under study with the visual theme of "farreh", which were selected non-randomly and purposefully and were studied until theoretical saturation was reached.<br>The analysis is qualitative. The results show that the nature of the Farrah in the version under study is different from its previous examples in the illustrated versions, and the luminous halo and golden color have been completely eliminated and have been reflected in human, plant, object and abstract symbols. The above visual items have been analyzed according to the extracted literary text and illustrations.<br>The concept of the Farrah menu is represented by signs such as dominion over nature, a luminous halo, connection with luck and fortune, breaking habits, and material identifiers such as animals and sacred tools on the noble person. These symbols are related to two types of legitimacy, divine and bloody. Farrah justifies the legitimacy of the king, hero, and noble person, the delegation of government and the powers of the natural world to him, and from an anthropological point of view, it is the manifestation of the sacred ancestors of humanity or the cultural hero of civilization, which is a fundamental model in the Shahnameh. In this article, and considering the visual characteristics close to reality in the Qajar period, first and with regard to the poems of the Shahnameh, the cases related to the representation of Farrah in the version under study were extracted and then a separate visual analysis and examination was carried out for each image. In response to the first question of the article, it can be stated that, in general, the symbols of Farrah in the version under study include the symbols of 1. animals (ram, deer, lion, eagle, falcon, oreghan, and huma), 2. luminous motifs (halo of light and fire), 3. objects and clothing (crown, globe, mace, headband, and throne), 4. abstract shapes (sun), and 5. plants.<br>Some of the symbolic animals in the Shahnameh are those that embody the divine Farrah and are sent as a divine sign to the chosen person to embody his Farrahmandi. The luminous halo around the head and symbolic birds, including the Simorgh, as the most important elements of the representation of Farrah in the pre-Qajar periods, were not visible in this version, and the way of drawing space and elements has come close to realistic visualization. The attention to visual details, including the representation of Farrah symbols on clothing and objects, has been reduced, and symbols such as the sun have been briefly alluded to using the dot-mapping method. Some of the symbolic tools in the Shahnameh are considered to be among the powers of Farrah, and its theological power, which is a symbol of divine attention to the Farrahmand and chosen people, is transmitted by this means with sacred power. Among these instrumental symbols is the Persepolis, which is carried to the sky by demons. In this version, special attention has been paid to the objects in the paintings, despite their general appearance. In paintings of the pre-Qajar periods, the shamsa was depicted around the heads of kings, and the tradition of using it as one of the symbols of government for gifts continued until the Safavid turbans, which is not unrelated to the granting of the royal farrah in the illustrated version under study in this article.شاهنامه در طول دوره‌های مختلف همواره مورد توجه نگارگران بوده است. بررسی نشانه‌های موجود در نسخه‌های تصویری، همراه با مطالعه هم‌زمان نظام نشانه‌های تصویری و متنی، انجام می‌شود. بدین سبب که مفاهیم موجود در نسخ تصویری از قاجار به این سو، علاوه بر توجه به نظام‌های متنی، جنبۀ شخصی‌سازی، شاخص‌تر است. هدف این نوشتار، بررسی چگونگی به تصویر درآوردن «فرّه» که یکی از نمادهای شاخص شاهنامه‌نگاری بوده و یافتن و دسته‌بندی گونه‌ها و ویژگی‌های آن‌ها، به صورت خاص در یک نمونه شاهنامه قاجاری محفوظ در موزۀ اسمیتسونین است که پژوهشی در رابطه با آن صورت نگرفته است. سؤال اصلی این پژوهش: نماد «فرّه» در شاهنامۀ مورد پژوهش، با چه عناصری نمود یافته است؟ روش تحقیق توصیفی تحلیلی است و شیوة گردآوری اطلاعات کتابخانه‌ای و اسنادی است. اهمیت این تحقیق در پیگیری موارد فوق در شاهنامه و نسخۀ تصویری آن و ضرورت آن این است که نگاره‌های نسخۀ مورد پژوهش تاکنون با تمرکز بر مفهوم نمادشناسی و فرّه، مورد بررسی قرار نگرفته است. جامعۀ پژوهش، نگاره‌های شاهنامۀ مورد پژوهش، با مضمون تصویری «فرّه» است. تجزیه و تحلیل به صورت کیفی است. نتایج نشان می‌دهد؛ ماهیت فرّه در نسخۀ مورد تحلیل با نمونه‌های قبلی خود در نسخ مصور متفاوت است و هالۀ نور و رنگ طلایی به صورت کامل حذف شده و در نمادهای انسانی، گیاهی، اشیا و اشکال تجریدی نمود پیدا کرده است. موارد بصری فوق با توجه به متن ادبی استخراج و نگاره‌ها، تحلیل شده است.https://rahpooye.soore.ac.ir/article_738533_a8dc319a42d2c878e3077781a62e4dd6.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622Comparative Analysis of the Representation of Div in Timurid and Safavid Painting and Oni in Japanese Art (Muromachi and Early Edo Periods)تحلیل تطبیقی بازنمایی دیو در نگارگری تیموری و صفوی با ئونی در هنر ژاپن (دوره موروماچی و اوایل ادو)556673853410.22034/ra.2026.738534FAمحیاحسنیرشته تصویرسازی، دانشکده تجسمی، دانشگاه هنر ایران، تهران0009-0008-9413-171Xمهردادکشتی آرامربی گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر ایران، تهران، ایران0009-0007-1403-1851Journal Article20250705In the mythologies and folk traditions of Iran and Japan, supernatural beings have long played an essential role in embodying moral values, expressing spiritual beliefs, and representing cultural anxieties. Among such beings, the Dīv in Persian mythology and the Oni in Japanese folklore are particularly notable for their long-standing symbolic significance and distinctive visual characteristics. Although they originate from vastly different religious and historical contexts, both the Dīv and the Oni serve comparable functions as embodiments of chaos, transgression, and moral opposition. This study presents a comparative analysis of the Dīv as represented in Persian painting from the Timurid and Safavid periods and the Oni as depicted in classical Japanese visual culture, including religious sculpture, narrative scrolls (emaki), and woodblock prints (ukiyo-e). The study aims to highlight both the shared archetypal patterns and the culturally specific features that shape each figure.<br>The research begins by tracing the mythological foundations of the two figures. In Zoroastrian cosmology, Dīvs are malevolent beings aligned with falsehood and disorder, directly opposing Ahura Mazda, the supreme deity of wisdom and light. They symbolize the anti-divine and anti-cosmic forces that threaten spiritual and social order. In the Islamic era, especially in the Shahnameh by Ferdowsi, Dīvs become vivid literary characters: monstrous and deceptive enemies of Persian heroes such as Rustam. They are symbolic of tyranny, ignorance, and moral corruption, and their defeat often represents the restoration of cosmic justice and royal legitimacy.<br>In contrast, the Oni in Japanese tradition arises from a combination of ancient animistic beliefs and Buddhist teachings. Initially perceived as fearsome creatures who punish the wicked in Buddhist hells, Onis evolved into more diverse roles in folklore and art. They are frequently associated with boundary-breaking, liminality, and spiritual impurity. However, Japanese tradition often attributes ambivalent qualities to them. In some contexts, Onis become protectors of sacred spaces, moral enforcers, or even humorous characters in popular tales. This variability reflects a more fluid moral framework, where spiritual transformation and redemption are recurring themes.<br>Visually, Dīvs in Persian art are depicted as grotesque, hybrid beings that combine human and animal traits. Artists of the Timurid and Safavid periods portrayed them with dark skin, large muscular bodies, sharp claws, horns, fangs, and wild hair. Their eyes are often wide and menacing, and their expressions exaggerated, highlighting their savagery and lack of rationality. These images serve as allegories of spiritual deviance, inner corruption, and social chaos. The grotesque anatomy of the Dīv becomes a visual metaphor for the inversion of divine and moral order.<br>Japanese depictions of Onis, by contrast, show a range of physical traits, but certain features recur: red or blue skin, two horns on the forehead, tusk-like teeth, bulging eyes, and wild, unkempt hair. In emaki and ukiyo-e, Onis often appear in dramatic scenes of punishment or confrontation but are also shown in humorous or even pitiable roles. Unlike Dīvs, who are consistently portrayed as irredeemably evil, Onis can be portrayed as emotionally expressive or capable of change, suggesting a more complex and ambiguous moral status. This ambivalence illustrates the Japanese cultural tendency to see good and evil not as rigid absolutes, but as fluid states shaped by context and behavior.<br>The study also considers the possibility of shared symbolic structures and visual archetypes despite the absence of direct historical contact between Iranian and Japanese artistic traditions. Both the Dīv and the Oni occupy liminal spaces: they exist between the human and non-human, the sacred and the profane, the known and the unknown. Their hybrid forms, exaggerated facial features, and grotesque appearances function as symbolic devices that visualize cultural fears and moral transgression. While Iranian art emphasizes binary opposition—between good and evil, light and darkness—Japanese art often embraces a more cyclical and transformative worldview, in which monstrous beings may find redemption or even become protectors.<br>Through detailed comparison, this research highlights the visual strategies artists used to encode complex cosmological and ethical messages. In Persian manuscripts, the Dīv reinforces the divine legitimacy of kings and heroes by contrast, while in Japanese scrolls and prints, the Oni often dramatizes the consequences of greed, pride, or immorality, offering both entertainment and moral instruction. Though the stylistic conventions differ, the underlying function of these figures as mediators between myth and morality remains consistent.<br>In conclusion, the comparative study of Dīvs and Onis reveals how mythological creatures serve as essential tools for articulating moral boundaries, confronting collective anxieties, and reflecting cosmological order. While rooted in different religious, artistic, and philosophical traditions, both figures illustrate how cultures visualize the monstrous to explore fundamental questions about human nature, fear, evil, and the limits of social order. Their continued presence in visual narratives across time attests to the enduring power of myth and iconography in shaping collective imagination and ethical discourse.در اساطیر ایران و ژاپن، موجوداتی فراطبیعی با ویژگی‌های مشترک و تفاوت‌های فرهنگی بارز حضور دارند که بازتاب آن‌ها در هنر تصویری این دو سرزمین به‌وضوح مشاهده می‌شود. این پژوهش با رویکرد تطبیقی و با بهره‌گیری از نشانه‌شناسی رولان بارت، به تحلیل دیو در نگارگری دوره تیموری و صفوی و ئونی در هنر ژاپنی می‌پردازد. هدف اصلی بررسی شباهت‌ها و تفاوت‌های این دو موجود اسطوره‌ای از منظر بصری و معنایی است. در منابع ایرانی، دیوها به‌عنوان نیروهای اهریمنی و تهدیدکننده نظم اجتماعی تصویر شده‌اند، در حالی‌که ئونی‌ها در فرهنگ ژاپنی طیفی از ارواح خبیث تا نگهبانان آیینی را شامل می‌شوند. از نظر بصری، شباهت‌هایی مانند اندام قدرتمند، شاخ و دندان‌های نیش وجود دارد، اما رنگ‌آمیزی متنوع و برخی ویژگی‌های انسانی بیشتر در تصویر ئونی‌ها مشاهده می‌شود. از منظر معنایی نیز، هر دو تجسمی از مفاهیم شر، آشوب و هراس جمعی هستند، هرچند در بستر فرهنگی خود معانی متفاوتی یافته‌اند. تحلیل آثار مکتوب، نگارگری‌ها و مجسمه‌ها نشان می‌دهد که بازنمایی این موجودات علاوه بر بازتاب باورهای فرهنگی و دینی، بیانگر نگرش‌های اخلاقی و اجتماعی نیز هست. یافته‌ها حاکی است که بررسی تطبیقی این نمادها می‌تواند درک عمیق‌تری از چگونگی بازنمایی مفاهیم خیر و شر در دو سنت تصویری و تفاوت‌های فرهنگی آن‌ها فراهم آورد و اهمیت مطالعه تطبیقی در تحلیل هنرهای تصویری دو فرهنگ را برجسته سازد.https://rahpooye.soore.ac.ir/article_738534_d4c4cde90d6ebaf797fb24992a579786.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622Investigation and symbolic analysis of the new petroglyphs of Meskotan Fanujبررسی و تحلیل نمادین سنگ نگاره‌های نویافته مسکوتان فنوج677673853510.22034/ra.2026.738535FAفاطمهساعدیدانشجوی کارشناسی ارشد پژوهش هنر، گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران0000-0002-4215-1443زهراحسین آبادیدانشیار، دانشکده هنر و معماری، دانشگاه سیستان بلوچستانJournal Article20230102Investigation and symbolic analysis of the new petroglyphs of Meskotan Fanuj<br>Abstract<br><br>Rock art is one of the oldest arts expressing the thoughts, beliefs, sociology, beliefs, mythology and diverse culture of human civilizations that have been found around the world.Balochistan is one of the rich regions in the rock art of Iran, and the study of Baluchistan's petroglyphs is of great importance for two reasons: 1. Balochistan region has been less studied by archeology compared to other regions of Iran, 2. The motifs are closely related to the thoughts, culture, beliefs, customs and beliefs of the people of the region, and by examining the symbols of the Petroglyphs of this region, a step can be taken to identify the beliefs of the local people.The new petroglyphs of Meskotan are located 9 km from Meskotan village, which is part of the central part of Fanuj city, and is located 45 km northeast of this city and 180 km from Nikshahr. The petroglyphs of Mescotan are carved by professional artists and are very old. These petroglyphs are located in the south of Meskotan village and on one side of these rocks are the Dohollan mountains and on the other side of the Moskotan river. Motifs of Mescotan petroglyphs are placed in human, animal and geometric categories.On the other hand, petroglyphs are closely related to the ideas, thoughts and culture of the people of that period, For this purpose, the current research aims to introduce and record the petroglyphs of Mescotan and to know the beliefs of the native people, and seeks to answer the following questions: What people created the motifs of Meskotan petroglyphs? And what is the relationship between the motifs, the climate and the life of the people of that time? The method of doing research is descriptive-analytical. The method of collecting information in this research is field and library methods. Information gathering tools are the use of documents and design software. First, the regions and petroglyphs were identified in the field with the cooperation of the native people of Muscotan. In the next step, clear patterns were extracted from the images and designed using Photoshop software, then the patterns were separated and the symbolic analysis of the patterns was done by referring to library documents and oral studies that were conducted from the people of the region.The findings show that among the 39 figures that could be seen in Meskotan petroglyphs, most of them are animals that lived in the mountains and villages of Fanuj, and the geometric patterns go back to the religious and religious beliefs of the people of the region and the artists who created the patterns. The motifs that have been worked as a set refer to equestrian competitions, hunting scenes, animal domestication and the culture of the people of that time. The result was that: the petroglyphs of this area are of carving and pounding type. Among the analyzed motifs, the horseman, which is a symbol of power and victory, has the highest statistics, followed by animal motifs of horses and goats, which are symbols of speed and blessing. In the petroglyphs of Mescotan, human motifs in the form; a naked man, a man on a horse, a man with a bow and a hunter have been carved. It is difficult to find out the gender of the human characters and sometimes you can tell what gender they are according to their clothing and how they are placed. Cows, donkeys, dogs, and rabbits, which were native animals of the region, were seen on the stone frames of Mescotan. In addition to this, there are also geometric and abstract patterns such as the circle, which is a symbol of eternity, and the crucifix, which is a symbol of life-giving power and desire. It is not possible to find a definitive answer regarding the people who created these motifs. Some of the motifs are simple and seem to have been carved for fun by unskilled shepherds and hunters in their spare time, but the paintings of some rocks have been professionally carved by artists who have mastered this art. The petroglyphs have a set of individual and group patterns and each of them contains the secrets of the beliefs, culture and society of the people of the region. In the Paleolithic age, because they lived through hunting, the petroglyphs show this that man intended to show off his power by portraying scenes of hunting, taming animals, and scenes of war and conflict.<br>Keywords: petroglyph, rock art, symbology, Mescotanبلوچستان یکی از مناطق غنی در هنر صخره‌ای ایران است اما کمتر مورد پژوهش‌های باستان‌شناسی قرار گرفته است و بسیاری از سنگ نگاره‌های این منطقه ناشناخته مانده‌اند. سنگ نگاره‌های نویافته مسکوتان در فاصلۀ 9 کیلومتری روستای مسکوتان از توابع بخش فنوج، شهرستان نیک‌شهر در استان سیستان و بلوچستان قرار دارد. نقوش سنگ نگاره‌های مسکوتان در دسته‌های انسانی، حیوانی و هندسی قرار می‌گیرند. از طرفی نگاره‌ها با عقاید، تفکرات و فرهنگ مردمان آن دوره ارتباط تنگاتنگی داشته بدین منظور پژوهش حاضر به روش توصیفی ـ تحلیلی و با کمک داده‌های میدانی و کتابخانه‌ای با هدف معرفی و ثبت سنگ نگاره‌های مسکوتان و شناخت باورهای مردم بومی آن زمان در پی پاسخ به این سوالات است که: نقوش سنگ نگاره‌های مسکوتان توسط چه افرادی خلق شده‌اند؟ و بین نقوش، اقلیم و زندگی مردم منطقه آن زمان چه ارتباطی دیده می‌شود؟ یافته‌ها نشان داد که؛ برخی از نقوش ساده بوده و به نظر می‌رسد توسط چوپانان و شکارچی‌های غیرماهر در اوقات فراغت جهت سرگرمی حک شده‌اند ولی نگاره‌های برخی مناطق به صورت حرفه‌ای توسط هنرمندانی که به این هنر مسلط بوده کار شده‌اند. نقوش با تفکرات، فرهنگ‌ها، عقاید، آداب و رسوم و باورهای مردمان منطقه ارتباط تنگاتنگی داشته، و نقوش حیوانی که در سنگ نگاره‌های بلوچستان کنده‌نگاری شده است از حیواناتی هستند که با توجه به اقلیم بلوچستان در این منطقه به وفور یافت می‌شده‌اند.https://rahpooye.soore.ac.ir/article_738535_0ec7812a9c446378c4f0aa1682bc66cd.pdfدانشگاه سورهرهپویه هنرهای تجسمی2980-99839220260622A visual interpretation of Hafez's "Saqhi Nama" in a painting by Mina Sadriترجمان بصری «ساقی‌نامه» حافظ در نگاره ای از مینا صدری779773853610.22034/ra.2026.738536FAحمیدهزارع دارگروه هنر اسلامی،دانشکده هنر،دانشگاه شاهد، تهران، ایران0009-0001-6010-5184زینبرجبیاستادیار گروه هنر اسلانی، دانشکده هنر، دانشگاه شاهد، تهران، ایران0000-0003-2132-5210Journal Article20250424Saqhi Nameh is one of the subjects of mystical literature that has a long history in Persian poetry. Saqhi Nameh includes verses addressed to the butler and asking for "May" from him in order to discover the secrets of the world and pay attention to the impermanence of the world and seize the opportunity. In this type of poetry, Nezami was an early pioneer, and Hafez, in his independent Masnavi "Saqhi Nameh", like in his other mystical poems, tried to display mystical teachings in the form of flirting with the butler and asking for the true wine from him. Divine love is one of the main sources and spiritual reserves of Hafez's poetry. For Hafez, poetry, love and romance are a kind of artistic conduct and one of the greatest values. The subject of divine love is loving the eternal and eternal beloved, that is, the Holy Essence of the Almighty. His poetry is full of wisdom and spirituality, which is often presented in the literary form of a ghazal; Because a ghazal is a kind of flirtation with the beloved, and the poet-artist describes. this love in the shortest verses, in a concise manner, and by using metaphors and imagery<br>In different periods, Iranian painters have rarely used the Saqhi Nameh as a motif for their works. However, Iranian painting has deep roots in religious beliefs and beliefs, and Sufism has been a subject of Iranian painting that has become very popular since the Timurid period. Painters such as Kamal al-Din Behzad and in later periods Sultan Mohammad, Agha Mirak and others created paintings with mystical themes and issues that, in their hidden angles, also express the anthropological characteristics and events of the artist's era. Among them, Kamal al-Din Behzad, who was himself a mystic and follower of Naqshbandi Sufism, tried to display sublime themes and mystical behavior in his works with a strong spiritual sense. Therefore, in his works, we can see various types of symbolism and metaphorical expression of mystical themes in the form of shape and color, and this type of use of language and mystical expression in the form of painting works continued as a tradition among his students and followers, leading to the formation of the Kamal al-Din Behzad art school. In contemporary times, artists, using this tradition and sometimes with contemporary expression, are attempting to visually translate deep mystical themes. Among these artists, we can mention Dr. Mina Sadri, whose diverse works demonstrate the continuity of Kamal al-Din Behzad's tradition in creating mystical themes.<br>Iranian painters have paid attention to mystical themes and teachings in various periods, and although depicting such spiritual themes was a difficult task, they tried to create works with symbolic language and expression to be a visual translation of such themes. In the contemporary period, artists, following the ancient artistic traditions of Iran, have also paid attention to mystical themes and created works with symbolic expression, such as Mina Sadri's "Saghi Nameh Painting" among these works. This article attempts to examine the Saghi Nameh painting in terms of structure and content, and to examine how the poems of Hafez's Saghi Nameh are visually translated. Therefore, the present study seeks to answer these questions: What are the visual and aesthetic values of Mina Sadri's Saghi Nameh painting? And what is the semantic relationship between this painting and Hafez's Saghi Nameh?<br>This research is of fundamental research type in terms of purpose and descriptive-analytical method in terms of method. The results of this research indicate that the artist, following the aesthetic traditions of ancient Iranian painting in depicting mystical themes that are full of legal and mystical signs, has created a work and tried to display the truths contained in Hafez's Saqhi Nameh poetry, including attention to the true Saqhi Nameh, that is, God, the pursuit of ability through journey and conduct, and the acquisition of spiritual degrees in the three parts of Saqhi Nameh, Mughni Nameh, and Sufi Nameh. He has tried to display a new and at the same time rooted expression by combining mystical themes and concepts with Islamic and Quranic teachings and create a work that can be a visual translation of Hafez's Saqhi Nameh.<br>By examining Mina Sadri's Saqhi Nameh painting and in response to the first question, it should be noted that the artist, paying attention to and following the visual traditions and aesthetics of ancient Iranian painting in depicting sublime mystical themes, has tried to display the themes and points of mysticism found in Hafez's Saqhi Nameh poems with the language and expression of Iranian painting. Also, in response to the second question of the research, it was concluded that the artist, considering selected verses from Hafez's Saqhi Nameh, represents his painting in three parts: Saqhi Nameh, Mughni Nameh, and Sufi Nameh. Influenced by the artistic school of Kamal al-Din Behzad, the artist seeks to best bring to the fore the legal and mystical concepts of mystical literature, and in particular, Hafez's Saqhi Nameh, in his painting.ساقی‌نامه یکی از موضوعات ادبیات عرفانی است که قدمتی طولانی در شعر فارسی دارد. ساقی‌نامه شامل ابیاتی خطاب به ساقی و طلب «می» نمودن از او به‌منظور کشف رازهای عالم و توجه به ناپایداری دنیا و اغتنام فرصت بوده است. حافظ شیرازی در مثنوی مستقل «ساقی‌نامه» سعی نموده تا معارف عرفانی را در قالب مغازله با ساقی و طلب میِ حقیقت از او به نمایش گذارد. در تاریخ نگارگری ایران، تصویرگری ساقی‌نامه به دلیل پیچیدگی‌های مضمونی متداول نبوده، اما در دوره معاصر مینا صدری در نگاره" ساقی‌نامه" سعی نموده با زبان نمادین برخی از مضامین عرفانی آن را به نمایش در آورد. ازاین‌رو در این مقاله سعی بر آن است تا باهدف شناسایی چگونگی ترجمان بصری اشعار ساقی‌نامه حافظ از نظر ساختار و مضمون، نگاره موردبحث خوانش شود؛ لذا پژوهش حاضر در پی پاسخ به این پرسش‌هاست: ارزش‌های بصری و زیبایی‌شناختی نگاره ساقی‌نامه مینا صدری کدام‌اند؟ و چه ارتباط معنایی میان این نگاره با ساقی‌نامه حافظ وجود دارد؟ این پژوهش از نوع تحقیقات بنیادین است که به شیوه کیفی انجام شده و روش پژوهش نیز توصیفی - تحلیلی است. یافته‌ها نشان می‌دهد که هنرمند باتوجه‌به سنت‌های نگارگری ایران، نوعی ترکیب‌بندی چندلایه که در آن سیر نزولی فیض از عالم لاهوت به ناسوت است را با حرکات اسپیرالی نمایش داده است. هنرمند از نمادهای رنگی همچون لاجورد و سیاه در بیان مضمون عرفانی بهره برده است. همچنین بازنمایی و ترجمان سه بخش ساقی‌نامه، مغنی‌نامه و صوفی‌نامه در قالب بصری گویای ارتباط عمیق بین نگاره و متن ادبی است.https://rahpooye.soore.ac.ir/article_738536_a1295388d4a423f781ae68785f623fe4.pdf