Semantic Analysis of Signs Based on the Masonic Kufic Script in Contemporary Iran Based on Roland Barthes' Duality of Overt and Implicit Signification

Abstract
In the contemporary era, signs (logos) as tools of visual communication play a role beyond aesthetics and have semiotic functions. Based on the duality of overt and implicit signification in Roland Barthes' theory, the present study analyzes the hidden and multilayered meanings in signs designed with the Masonic Kufic script in contemporary Iran. Considering the religious, traditional, and discursive origins, as well as the modern, networked, modular, and cellular structure and the compatibility of the Masonic Kufic script with modern forms, the aim of this study is to explore the explicit and implicit expressions in these signs. Considering the aforementioned Kufic script base, the main research question is how this script is compatible with modern forms and to identify the dominant aspect of its semantic implications. The research method is qualitative and the data were collected through documentary studies. The statistical population of this study is 15 selected signs that have been purposefully selected. In response to the research question, it should be said that the dominant aspect of semantic connotation in the analyzed signs is implicit connotations that, along with explicit written connotations, instill symbolic and sometimes mythical meanings in their thematic context. These meanings are embedded in the hidden layers of the sign and can be extracted through cultural and semiotic reading. Contrary to the initial expectation based on the ideological origin of the Kufic script, especially the Kufic script, its use in ideological signs has been limited in the analyzed samples. Instead, this script has been used mostly in signs with non-religious and even modern content. The reason for this trend can be found in the modern, cellular, pixelated, and networked structure of the Kufic script, which makes its use very suitable for adapting to the brands of institutions and companies operating in the domain of concepts such as technology, innovation, artificial intelligence, and smart software.
Research Methodology
This research was conducted in a qualitative manner with an analytical-comparative approach, and its theoretical basis is based on Roland Barthes's structuralist semiotics. The theoretical framework of the research includes two levels of signification: explicit (overt) signification, implicit (hidden/cultural) signification, and the analysis of the samples using the semiotic analysis method was carried out in order to identify the semantic and ideological levels of the signs. The study population includes signs designed with Kufic script in the contemporary period of Iran and includes 15 purposefully selected samples. The research data were collected through library and documentary methods, and the sources used included specialized books, scientific articles, theses, and authoritative image databases.
Conclusion
In general, the analysis of the studied samples shows that in many written signs based on the Kufic script, designers have turned to writing instead of using visual icons; this tendency is not only due to the difficulty of visually representing some concepts or the lack of suitable visual equivalents, but is also often a conscious choice for a faster, more accurate, and more controlled transmission of meaning. Especially when a written sign is designed in an “easy to understand” and legible way, the audience can relate to it without the need for additional explanation. This has enhanced the position of written signs in contemporary design. In response to the research question, it should be said that the predominant aspect of semantic connotation in the analyzed signs is implicit connotations that, in addition to explicit written connotations, instill symbolic and sometimes mythical meanings in their thematic context. These meanings are embedded in the hidden layers of the sign and can be extracted through cultural and semiotic reading. Contrary to the initial expectation based on the religious origin of Kufic script, especially Banai Kufic, its use in religious signs has been limited in the analyzed samples. Instead, this script has been used more in signs with non-religious and even modern content. The reason for this tendency can be found in the modern, cellular, pixelated, and networked structure of Banai Kufic script, which has made its use very suitable for adapting to the brands of institutions and companies that operate in the domain of concepts such as technology, innovation, artificial intelligence, and smart software. Other design innovations seen in signs include the use of creating dimension, color, and combining pixels and images with text. These approaches show that the Kufic script, despite its traditional and religious structure, has significant formal and semantic potential for cultural and commercial branding. Repetition and development of this type of use, along with other lines and images, can help form a native and contemporary visual language; a language that is not only faithful to the identity of Persian script, but also has something to say in global visual communications. Ultimately, the intelligent combination of text and image has opened a new path for sign design in contemporary Iran; a path that not only adds to the semantic richness of signs, but also provides an effective solution for conveying complex concepts in a simple, multi-layered, and cultural format.