موسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923Rereading the Forms in Transmodern Islamic Art: Commonalities between Calligraphy and Geometry in the Works of Contemporary Middle Eastern Artists Based on Feldman’s Modelتحلیل ساختار بصری و مؤلفه‌های هویتی در آثار هنرمندان دیاسپورای معاصر خاورمیانه با رویکرد نقد فلدمن112010391010.22059/jfava.2025.401161.667555FAسیرانچوپاندانشجوی دکتری پژوهش هنر، گروه
پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.0000-0003-2045-9532گلالهرحمانیکارشناس ارشد هنرهای نمایشی، گروه نمایش و هنرهای دیجیتال، دانشکده هنر، مؤسسه آموزش عالی نبی اکرم(ص)، تبریز، ایران.0009-0009-7680-3444منیرمحبتیکارشناس ارشد گرافیک، دانشکده هنرهای تجسمی، دانشکدگان، هنرهای زیبا دانشگاه تهران، تهران، ایران.0009-0001-9685-9826فرخندهصدوقیکارشناسی ارشد صنایع دستی، گروه صنایع دستی، دانشکده هنر دانشگاه الزهرا، تهران، ایران.0009-0008-7252-0159Journal Article20250830More than two decades have passed since the formation of the contemporary art movement of the Middle East. Due to the dispersion and lack of uniformity in the art of this region, each researcher has used a special title for it in their works in various periods and according to the paradigms dominant in Muslim societies. Titles such as; Muslim art, Islamic art, Arab art and finally Middle Eastern art have been applied to it, which has been as controversial as the Middle East itself. Middle Eastern art continued to exist under two factors: 1. The entry of Western colonialism and modernity into Muslim countries 2. The departure of famous artists to learn, or their permanence in the West, due to the conditions after September 11 in these countries. Sylvia Neff (2003), for the purpose of historical research, divides modern and contemporary Arab art into three periods: 1. Acceptance 2. Adaptation and 3. Globalization (Naef, 3003), which can also be generalized to Iranian artists. During the period of introduction and familiarity with Western art, Muslim artists tried to imitate the realist style and behavior of the West. In Iran, the acceptance of these ideas began with Mohammad Zaman, then ended with Mahmoud Saba, Kamal al-Molk, and finally his students. In the period of adaptation, artists who had gone abroad tried to create a modern art by preserving the cultural heritage and national background. In Iran, artists such as Jalil Ziapour and Hossein Zanderudi, with the Saqakhaneh movement and the adaptation of traditional art and its combination with modern art, led to the "Calligraphy" style, and in the suburbs of Arab artists, such as Madiha Omar, Kamal Balata, and... to the "Hurufiya Movement". However, in the period of globalization, after the September 11 attacks and during the two decades that followed, due to the migration of young Middle Eastern artists to the West, two streams of their experiences in new lands emerged. The former created hybrid works through traumatic experiences, critical art, and postmodernism, but the latter seeks a complete narrative of "selfhood" that has grown and emerged after emerging from the shadow of "otherness," which has created a trammel reflection with transmodernist art.This research aims, while explaining Middle Eastern art, emphasizing the theoretical approach of transmodern art, to reinterpret the forms found in the works of transmodern artists, among whom four well-known artists from four different country areas were selected and analyzed and examined based on Feldman's four-stage model. To achieve this goal, several basic questions are considered; What identity aspects do the forms found in Islamic transmodern art in the works of Middle Eastern artists have? What experiences are these forms the result of? And finally, by answering the questions in question, a question that is not the subject of this article is raised and remains unanswered: Is Middle Eastern art repeating its past experiences, emerging with a new approach, and is this considered a loss or progress?هنر خاورمیانه، در قرن بیست و یکم به‌مانند سایر هنرهای غیر غربی در جهان مطرح شد. این هنر در دوره جهانی‌شدن، در پی یک روایت کامل از «خود بودگی» است که بعد از درآمدن از سایه «دیگربودگی»، رشد و نما پیدا کرده است. پژوهش حاضر به بازخوانی اشکال موجود در آثار هنرمندان دیاسپورای خاورمیانه (ترنس مدرنیته، فرامدرنیته، پسامدرنیته) می پردازد. در این راستا، چند پرسش مدنظر است؛ اشکال موجود در هنر پسامدرنیته اسلامی در آثار هنرمندان خاورمیانه، دارای چه وجوه هویتی هستند؟ این اشکال حاصل چه تجربه‌هایی است؟ پژوهش حاضر از نوع کیفی و در حوزه مطالعات توصیفی- تحلیلی قرار می‌گیرد. هدف آن، تحلیل ساختار طراحی و عناصر بصری در آثار هنرمندان دیاسپورای معاصر خاورمیانه است. شیوه جمع آوری اطلاعات اسنادی با مطالعات کتابخانه‌ای و روش توصیف و تحلیل آثار نیز بر اساس نظریه چهار مرحله ای فلدمن به‌عنوان ابزار «تحلیل لایه های صوری و فرمال» در نظر گرفته شده است. ماحصل پژوهش چنین است که؛ وجوه اشکال خاص مانند خوشنویسی، هندسه با مرکزگرایی احجام در آثار، به‌عنوان یک واحد انتزاعی که می تواند نمادی از حقانیت و ایمان و بازگشت هویت هنرمندان دیاسپورای خاورمیانه، به خویشتن باشد، در نظر گرفت اما از طرفی، آموزه ها و علقه هایی که در هنر غرب با آن نشو و نما پیدا کرده اند، به تمامی نمی تواند نادیده گرفته شود.https://jfava.ut.ac.ir/article_103910_d0931a221c3fc8873d15363688891317.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923Exploring the Evolution of Contemporary Museum Interactions through Convergence with Technology, with an Emphasis on New Contemporary Artsتحول تعاملات موزه‌های معاصر از طریق همگرایی با فناوری با تأکید بر هنرهای معاصر213510737910.22059/jfava.2026.399519.667535FAسید محمودمیرعزیزیدکتری هنرهای تجسمی، گروه مطالعات عالی
هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.0009-0008-0995-1298مصطفیگودرزیاستاد گروه مطالعات عالی هنر، دانشکده
هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.0000-0002-4076-3147Journal Article20250730Some of Contemporary museums are undergoing a profound transformation by integrating emerging digital technologies to enhance visitor experiences, preserve cultural heritage, and redefine their social roles. This convergence represents a fundamental change in how museums conceptualize, present, and interpret contemporary art. However, despite growing scholarly interest in digital museology, comprehensive research remains limited on how multiple technologies—particularly robotics, the Internet of Things (IoT), virtual reality (VR), augmented reality (AR), and artificial intelligence (AI)—simultaneously affect museum practices and the emergence of new forms of contemporary art. This study addresses that gap through three questions: 1) How have these technologies transformed the exhibition and interpretation of contemporary art? 2) How has the convergence of technology and art reshaped the audience’s role in artistic experience? 3) What are the applications, benefits, and challenges of each technology in contemporary museums? This applied-developmental, descriptive-analytical research adopted a qualitative approach. Data were collected through a comprehensive literature review. The search strategy included Google Scholar, specialized museum journals, institutional reports, and related scholarly sources. The findings indicate that AI-based personalization algorithms enable museums to tailor content and visitor journeys according to individual preferences, prior knowledge, and behavioral patterns. Virtual reality and augmented reality facilitate immersive, multilayered interpretation and allow visitors to experience artworks beyond physical constraints, including entering a painter’s perspective or visualizing creative processes. Robotics, particularly interactive guide robots, introduces new forms of physical interaction, especially in performance and movement-based art. Collectively, these technologies transform audiences from passive observers into active participants, co-creators of meaning, and, in some contexts, temporary artists. IoT-based intelligent monitoring systems equipped with distributed sensor networks continuously track temperature, humidity, light levels, and airborne pollutants, providing real-time alerts for preventive conservation. Such systems help protect collections from biological threats, including insects and fungi, as well as chemical degradation. Advanced AI security systems further integrate facial recognition, anomaly detection, and predictive analytics to safeguard collections against theft, vandalism, and natural disasters such as earthquakes and floods. In museum education, emerging technologies have transformed teaching by enabling experiential, situated, and multimedia learning beyond traditional educational models. VR supports immersive programs in which learners explore reconstructed historical contexts and artistic processes from first-person perspectives. AR overlays supplementary information, including artists’ biographies, technical details, and critical interpretations, directly onto displayed works through mobile devices or smart glasses. Remote-visit technologies, accelerated by pandemic-era adaptations, allow global audiences to access collections despite geographic limitations, thereby expanding inclusive cultural engagement. Most importantly, digital technologies have become generative forces in contemporary art rather than merely presentation tools. AI algorithms can generate artworks, collaborate with human artists, and transform existing themes. VR and AR also enable virtual reconstructions of damaged or destroyed works, including self-destructive art associated with Gustav Metzger, thereby reviving ephemeral artistic forms in immersive environments. Comparative analysis shows that AI is the only technology with an active presence across all major areas of museology—audience engagement, conservation, education, access, and creativity—and across diverse branches of contemporary art, from performance to self-destructive practices. The study concludes that each technology offers distinct value: robotics enables physical interaction; IoT supports intelligent monitoring and sustainable management; AR enriches contextual and immersive experiences; VR expands experiential interpretation; and AI provides integrated intelligence capable of personalizing, predicting, and creating. Their convergence is not merely additive but synergistic. AI combined with IoT enables predictive preservation, AI with VR produces responsive immersive environments, and robotics with AR facilitates interactive physical–virtual arrangements. Together, these technologies support multilayered interpretation, contextual enrichment, and the reconstruction of damaged or ephemeral works. The audience’s role has consequently shifted from passive receiver to active agent, participant in meaning-making, and co-creator of artistic significance. Nevertheless, important challenges remain, including implementation costs, the digital divide, technological obsolescence, privacy and ethical concerns, and the risk that authentic museum experiences may be reduced to entertainment. This research contributes a comprehensive framework for understanding technology-driven changes in museology and their implications for contemporary art production, exhibition, curation, and reception. Future research should examine longitudinal effects on visitor behavior, institutional readiness, ethical governance, accessibility, and changing patterns of authorship. Comparative studies across cultural contexts may further identify sustainable models for technologically mediated artistic engagement and participation. These developments also challenge established assumptions about curatorial authority, authenticity, and the boundaries between artwork, interface, and institutional infrastructure. As digital systems increasingly mediate encounters with collections, curators must consider how algorithmic selection, personalization, and automated interpretation influence what visitors see and how they understand it. Consequently, technological integration should not be evaluated solely in terms of efficiency or novelty, but also according to its cultural, ethical, and aesthetic implications. Museums need interdisciplinary strategies that bring together curators, artists, conservators, educators, designers, and technology specialists. Such collaboration can ensure that innovation remains aligned with institutional missions while preserving critical reflection, accessibility, and meaningful human participation across museum contexts.همگرایی فناوری‌های دیجیتال با موزه‌های معاصر، تحولی بنیادین در شیوه‌های نمایش، تفسیر و تعامل با هنرهای معاصر پدید آورده است و این نهادها برای حفظ جایگاه خود و پاسخگویی به انتظارات جدید مخاطبان، ناگزیر از درک عمیق این تحولات و انطباق با آن‌ها هستند. پژوهش پیش‌رو با هدف تحلیل چیستی و چگونگی تأثیر فناوری‌های نوین همچون ربات‌ها، اینترنت‌اشیا (IoT)، واقعیت مجازی VR))، واقعیت افزوده AR)) و هوش مصنوعی (AI) بر تعاملات موزه‌ای و دگرگونی هنر معاصر، به این پرسش اساسی می‌پردازد که این فناوری‌ها چگونه شیوه‌های نمایش و تفسیر آثار را متحول ساخته‌اند و در این میان، نقش مخاطب به‌عنوان کنشگری فعال در فرآیند تجربه هنری چه دگردیسی یافته است. این پژوهش از نظر هدف کاربردی و از نظر ماهیت توصیفی-تحلیلی است که با روش کیفی و با بهره‌گیری از راهبرد تحلیل محتوا انجام شده و داده‌های آن از طریق مطالعه کتابخانه‌ای و مرور اسناد و منابع جمع‌آوری شده است. یافته‌ها و نتایج نشان می‌دهد که بهره‌گیری از این فناوری‌ها به تحولاتی چندوجهی در حوزه‌های شخصی‌سازی تجربه و افزایش مشارکت مخاطب، حفاظت هوشمندانه و پیشگیری از آسیب آثار، یادگیری تجربی و آموزش موقعیت‌محور چندرسانه‌ای، امکان بازدید از راه دور، خلاقیت در خلق شیوه‌های نوآورانه در ارائه و نیز بازسازی آثار تخریب‌شده انجامیده است.https://jfava.ut.ac.ir/article_107379_31664c64a7768720db09d83725d984d5.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923The Iconographic Transformation of the Sacred Messenger of the Sacrificial Ritual in the Illustrated Ramayana Manuscripts of the Mughal School: A Case Study of the Freer Gallery Manuscriptاستحاله آیکونوگرافیک پیام‌آور قدسیِ مراسم قربانی در نسخه‌های مصور رامایانا در مکتب گورکانی (مطالعه موردی نسخه مجموعه فرییر)374810463110.22059/jfava.2025.396313.667494FAنیماادهماستادیار گروه نقاشی، دانشکده هنرهای تجسمی، دانشگاه هنر شیراز، شیراز، ایران.0009-0004-6343-6095مریمدشتیزادهاستادیار گروه موزه، دانشکده باستان شناسی و
موزه، دانشگاه هنر شیراز، شیراز، ایران.0000-0002-2970-6598Journal Article20250629The Ramayana, together with the Mahabharata and the Puranas, forms one of the foundational texts of India's religious and cultural heritage. Beyond its literary importance, it has played a central role in shaping the visual, religious, and artistic traditions of South Asia. During the reign of the Mughal emperor Akbar (1556–1605), the Persian translation and illustration of the Ramayana became part of a broader cultural policy that promoted dialogue among the diverse religious and ethnic communities of the empire. By encouraging the translation of Sanskrit texts into Persian and commissioning their illustration in the imperial workshops, Akbar created an artistic environment in which Muslim and Hindu painters worked together, exchanged visual traditions, and developed new forms of artistic expression. The resulting Persian illustrated Ramayana manuscripts provide valuable evidence of cultural interaction between Hindu and Persian-Islamic traditions. Among these manuscripts, the Freer Ramayana, commissioned by ʿAbd al-Raḥīm Khān-i Khānān with Akbar's approval and now preserved in the Freer Gallery of Art in Washington, D.C., occupies a special place. One of its most remarkable illustrations depicts the Sacred Messenger of the Sacrificial Ritual, a supernatural figure emerging from the sacrificial fire while presenting a golden vessel containing the divine offering for King Daśaratha and his queens. In comparison with both the Sanskrit narrative and other Mughal illustrated versions of the Ramayana, this image displays notable visual and iconographic differences. These distinctive features make it an appropriate case for examining the transformation of religious imagery within a multicultural artistic environment. Previous studies have mainly focused on the stylistic characteristics, narrative structure, and artistic development of Persian illustrated Ramayana manuscripts. Although the Freer manuscript has been discussed within broader studies of Mughal painting, the iconography of the Sacred Messenger has not been examined independently through Panofsky's iconographic method. This study therefore seeks to analyze the figure's visual characteristics—including skin color, costume, ornaments, and symbolic attributes—and to explain how these features reflect cultural interaction between Hindu and Persian-Islamic artistic traditions during the Mughal period. The research adopts a qualitative, descriptive-analytical approach based on documentary and library sources. Its theoretical framework is Erwin Panofsky's three-stage model of iconographic analysis. At the pre-iconographical level, the visual elements of the selected painting are carefully described. At the iconographical level, these elements are compared with the Sanskrit Ramayana and two contemporary Persian illustrated manuscripts: the Jaipur Royal manuscript and the Hamida Banu manuscript. Finally, the iconological stage interprets the cultural and religious significance of the observed visual changes within the intellectual and multicultural context of Akbar's court. Although the Freer manuscript constitutes the principal case study, the Jaipur and Hamida Banu manuscripts are employed as comparative examples to clarify the process of iconographic transformation. The analysis demonstrates that the representation of the Sacred Messenger in the Freer manuscript underwent significant formal and symbolic transformation. The most striking change concerns the figure's skin color, which is described as black in the Sanskrit text and represented accordingly in the Jaipur manuscript, but appears as saffron-orange in the Freer version. Other differences include modifications in the depiction of the golden vessel, the number of queens attending the ritual, and several compositional details. Comparative examination indicates that the Jaipur manuscript remains closest to the Sanskrit narrative, whereas the Hamida Banu manuscript introduces moderate changes and the Freer manuscript presents the most extensive reinterpretation. These findings suggest that the Muslim painters did not simply reproduce Hindu iconographic conventions but actively reshaped them through their own visual language and artistic experience. The iconological interpretation further indicates that these transformations should not be regarded merely as mistakes or evidence of unfamiliarity with Hindu mythology. Rather, they reflect a conscious process of cultural reinterpretation within the Mughal artistic environment. The use of saffron for the Sacred Messenger's skin is especially meaningful. In Hindu tradition, saffron symbolizes sacred fire, purity, asceticism, wisdom, and spiritual authority, while within Persian-Islamic visual culture similar chromatic associations evoke sanctity, divine light, and spiritual illumination. The altered appearance of the Sacred Messenger therefore represents a deliberate visual translation through which Hindu sacred imagery was reinterpreted using the symbolic vocabulary of Persian-Islamic painting. The comparative analysis also suggests that the extent of iconographic transformation depended on several interconnected factors, including the artists' familiarity with Hindu religious concepts, the symbolic interpretation of color, the cultural environment of the Mughal atelier, and the painters' individual artistic choices. While the Jaipur manuscript preserves a closer relationship with the Sanskrit narrative through the participation of Hindu artists and closer imperial supervision, the Hamida Banu and especially the Freer manuscript reveal greater interpretative freedom. In the Freer manuscript, the painter Nadim reconstructed the Sacred Messenger through a visual language that mediated between Hindu symbolism and Persian-Islamic artistic conventions, creating a distinct iconographic identity for the figure. In conclusion, the Sacred Messenger in the Freer Ramayana should be understood not simply as the illustration of a mythological episode but as visual evidence of cultural negotiation and artistic adaptation during the Mughal period. Its iconographic transformation reflects the emergence of a shared pictorial language in which sacred concepts were creatively reinterpreted rather than mechanically transferred across cultures. By applying Panofsky's iconographic methodology to a previously understudied image, this study demonstrates that the visual changes observed in the Freer manuscript represent a meaningful expression of intercultural dialogue. The findings contribute to a deeper understanding of Mughal painting, Persian illustrated manuscripts, and the broader processes of iconographic transformation and cultural exchange in early modern South Asia.ترجمه و تصویرگری آثار حماسی هندو، از جمله رامایانا، به دستور اکبرشاه گورکانی، در چارچوب سیاست رواداری فرهنگی این پادشاه و با هدف معرفی و انتقال میراث فرهنگی و دینی هند به جامعه مسلمانان انجام گرفت. در این میان، رامایانانگاری فارسی به‌عنوان نمونه‌ای منحصربه‌فرد از نگارگری هندو-ایرانی، زمینه‌ی بروز تعامل میان هنرمندان دو فرهنگ را فراهم ساخت. نگاره‌ی «پیام‌آور قدسیِ مراسم قربانی» در نسخه‌ی فرییر، نمونه‌ای شاخص برای بررسی آیکونوگرافیکِ این تعاملات فرهنگی است. در این میان، رامایانانگاری فارسی به‌عنوان نمونه‌ای منحصربه‌فرد از نگارگری هندو-ایرانی، زمینه‌ی بروز تعامل میان هنرمندان دو فرهنگ را فراهم ساخت. نگاره‌ی «پیام‌آور قدسیِ مراسم قربانی» در نسخه‌ی فرییر، نمونه‌ای شاخص برای بررسی آیکونوگرافیکِ این تعاملات فرهنگی است. این پژوهش با هدف تحلیل ویژگی‌های بصری و فرمی «پیام‌آور قدسی مراسم قربانی» (از جمله رنگ پوست، زیورآلات و پوشش) در نگاره فرییر و تبیین معانی نمادین آن در بستر تعامل میان سنت‌های هنری هندویی و ایرانی–اسلامی انجام شده است. پژوهش با رویکردی کیفی و به روش توصیفی–تحلیلی، مبتنی بر منابع اسنادی و با بهره‌گیری از الگوی آیکونوگرافی پانوفسکی صورت گرفته است. یافته‌ها نشان می‌دهد که بازنمایی «پیام‌آور قدسی مراسم قربانی» در نگاره نسخه فرییر دستخوش استحاله‌های فرمی، محتوایی و رنگی شده است. نگارگر مسلمان در این نسخه با رویکردی تلفیقی و تفسیرگرانه، مفاهیم اسطوره‌ای هندو را بازآفرینی کرده و از رهگذر این استحاله آیکونوگرافیک، خوانشی تازه از این شخصیت قدسی ارائه داده است. در این نسخه انتخاب رنگ زعفرانی در ترسیم پیام‌آور قدسی مراسم قربانی، به دلیل ناآشنایی هنرمند مسلمان با اسطوره‌های هندی نبوده، بلکه حاصل تفسیر او از مفاهیم قدسی و تجلی استحاله‌ی آیکونوگرافیک در بستر چندفرهنگی گورکانی است؛ پدیده‌ای که به شکل‌گیری زبان بصری مشترک میان دو سنت هنری هندو و ایرانی-اسلامی در مکتب گورکانی انجامید.https://jfava.ut.ac.ir/article_104631_e1b1546cbd589004a4d5fd707289682e.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923A Study of Tile Parapets in Timurid and Turkmen Period Buildings of Yazd Province based on Geometric Pattern and Motifمطالعه جان پناه‌های کاشی بناهای دورۀ تیموری و ترکمانانِ استان یزد بر اساس طرح و نقش هندسی496010368210.22059/jfava.2025.393341.667455FAزهراراشدنیادکتری باستان شناسی (دوران اسلامی،) گروه باستان شناسی، دانشکده حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران.0000-0002-5999-2580Journal Article20250414During the Timurid and Turkmen periods, Yazd province witnessed unique examples of tile decorations called Parapets. So that these Parapets have common characteristics in terms of the patterns and motifs used in their center/background and borders,which emphasizes the uniqueness of the named decoration in this region of the country during the mentioned periods. For this reason, it is possible to identify and classify this category of decorations and also to understand the local style in the Yazd region during the period under study.Therefore, the purpose of this article is to introduce and classify the tile Parapets used in the buildings of the mentioned period in Yazd province based on their geometric Pattern and Motif in order to achieve a local/regional style.During the review of the motifs found in tilework,the execution technique, colors, etc. are also briefly mentioned. Therefore, the main research question can be posed as follows: What are the most common geometric Patterns and Motifs of the tile Parapets of buildings from the Timurid and Turkmen periods in Yazd province? The present study is based on a method of interpretive-historical research and a qualitative data analysis and interpretation method.The research methodology of gathering information and data is documentary and based on extensive field observations,including visiting buildings, taking pictures of tile Parapets, and drawing some samples with various software such as CorelDraw, Photoshop, etc.The statistical population of this study includes all tile Parapets from the Timurid and Turkmen periods in Yazd province, which include ten buildings. Therefore, first the findings are presented and then the introduction and classification of the tile Parapets of the buildings of this time period in Yazd province are discussed.Sometimes a local style is implemented in a specific and specific region, and sometimes it encompasses a wider geographical area. For example, the existence of tile Parapets during a specific period, as well as some geometric Motifs that have been repeated many times, all belong to the same region. This indicates that the mentioned region had a local style and probably created works with special characteristics at the request of local founders and artists. The most prominent of these features is the extensive use of geometric motifs, including the »regular hexagonal« knot in the center/background and the »Six and Triangle« on the edges of the tile's Parapets.Based on the available evidence mentioned in the text of the article, the tile Parapets of the Timurid and Turkmen periods in Yazd province are unique to this region, and no similar examples have been found in other parts of the country.Although there are unique tile decorations in the eastern part of Iran and other regions of the country during the aforementioned periods, none of them have tile Parapets, and if they do exist, they do not have tile decorations.This type of decoration is seen in buildings in the Yazd region and has been a common pattern in some of the decorations of buildings in this region. Its absence in other parts of the Timurid and Turkmen territories in Iran could be evidence of the local style of this type of decoration, which is located in the same time period and region. In addition, the limitation of this category of decorations to a specific region (Yazd province) can indicate common decorative patterns and methods that have usually been of interest and attention to creators, founders, and commissioners of works of art in each historical period and in a specific area. The results of this research indicate that examining the existing examples of tile Parapets from the Timurid and Turkmen periods in Yazd province, it was determined that only geometric motifs were used in their center/background and borders.The tile Parapets of the mentioned eras of Yazd province can be classified into two major groups, »regular hexagonal« and »Six and roundel Jointed Toranj« in terms of the geometric motifs of the center/background.The borders are designed with geometric patterns and motifs, such as simple border without motif, »quatrefoil and ellipse« and »Six and Triangle« knot.The »regular hexagonal« knot is the most common geometric motif used in the center/background of the Parapets. The aforementioned knot is worked with turquoise cut tiles in the center/background of the Parapets of 10 buildings in the province. The borders in most of the Parapets are made with the »Six and Triangle« knot. In a limited number of cases, the borders of some Parapets consist of geometric designs consisting of the repetition of two simple geometric motifs, such as »quatrefoil and ellipse« or a simple, narrow border without motifs.Therefore,the buildings of Yazd province can be indicative of a local style, from one side, in terms of having Parapets and on the other hand, due to the use of common geometric motifs in them.A style whose works and evidence can only be traced in this province during the period under study.استان یزد در دوران تیموری و ترکمانان، شاهد نمونه‌های منحصربه‌فردی از تزئینات کاشی‌کاری در بخش جان‌پناهِ ابنیه تاریخی بوده است. این قطعات معماری که به‌وفور در بناهای استان یزد یافت می‌شوند، می‌توانند بازتاب‌دهنده یک سبک محلی/ منطقه‌ای باشند. پژوهش حاضر با هدف معرفی و طبقه‌بندی تزئینات کاشی‌کاریِ جان‌پناه‌ها در ابنیه دوران مذکور در استان یزد بر اساس طرح و نقش هندسی انجام شده است تا از این طریق، ویژگی‌های سبک منطقه‌ایِ کاشی‌کاری در یزد را تبیین نماید. پژوهش حاضر با روش توصیفی‌ـ‌تحلیلی انجام شده و گردآوری داده‌ها بر پایه مطالعات میدانی و استناد به منابع مکتوب استوار است. یافته‌ها حاکی از آن است که جان‌پناه‌های کاشی عصر تیموری و ترکمانان در استان یزد، از لحاظ نقوش هندسیِ مرکز/ زمینه، به دو گروه عمده «شش‌ضلعی منتظم» و «شش و شمسه ترنج‌دار» قابل‌طبقه‌بندی هستند. حاشیه‌ها نیز با طرح‌هایی نظیر «ساده و بدون نقش»، «چهارلنگه و بیضی» و «شش و تکّه» اجرا شده‌اند. نتایج نشان می‌دهد که گره «شش‌ضلعی منتظم» رایج‌ترین نقش در مرکز/زمینه و گره «شش و تکّه» پرکاربردترین نقش در حاشیه‌های اطراف است. شباهت‌های ساختاری و تکرار هوشمندانه این الگوهای هندسی در ابنیه یزد، متمایز از الگوهای رایج در سایر مراکز هم‌زمان است؛ امری که اصالت و تشخصِ یک «سبک محلی/ منطقه‌ای» را در مکتب معماری و کاشی‌کاری یزدِ عصر تیموری و ترکمانان اثبات می‌کند.https://jfava.ut.ac.ir/article_103682_90dac68e49919f43d6342aed1f5c1add.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923A Survey of the Visual and Emotional Preferences of Buyers for Designing Gemstone Costumers Using Kansei Engineeringشناسایی و استخراج ترجیحات حسی خریداران گوهرسنگ در ایران با استفاده از مهندسی کانسی617710353910.22059/jfava.2025.394046.667474FAاشرفمحمدیانکارشناسی ارشد، گروه مدیریت، دانشکده علوم اقتصادی و اداری، دانشگاه قم، قم، ایران.0009-0007-0288-7644مهدیمحمدی نسباستادیار، گروه مدیریت، دانشکده علوم اقتصادی و اداری، دانشگاه قم، قم، ایران.0000-0002-8543-1656Journal Article20250424Iranian gemstone art holds considerable potential for development both domestically and internationally, owing to its diversity, originality, high quality, and reasonable prices. One of the essential requirements for realising this potential is designing products that align with the preferences, tastes, and needs of consumers. The present study is an applied, descriptive-correlational investigation that combines qualitative and quantitative methods. It seeks to identify the preferences of Iranian buyers of gemstone products using the Kansei engineering method – a human-centred approach that translates consumers’ emotional and subjective responses into measurable design parameters. To determine customers’ desired features, a library study and in-depth semi-structured interviews with 16 experts and key informants from the gemstone industry (including master cutters, renowned sellers, and veteran artisans) were conducted, and Kansei vocabulary in the field of gemstones was analysed, extracted, and refined. The initial pool of 54 word-pairs was reduced to 28 core words after removing duplicates and low-frequency items, and finally to 14 key Kansei word-pairs through a pilot test. These final pairs covered both visual attributes (e.g., colour, size, transparency, cut) and emotional-experiential qualities (e.g., authenticity, healing properties, uniqueness). The selected terms were presented to buyers in the form of a Kansei questionnaire employing a seven-point semantic differential scale – a widely validated instrument for measuring affective responses. The survey was administered physically and in the field to 440 buyers who had participated in several gemstone exhibitions in Tehran during the winter of 2023, including both a specialised gemstone fair and major retail galleries. The sample size was determined using Cochran’s formula for an infinite population (95% confidence level, 5% margin of error), and the final valid responses numbered 440. The data were analysed with SPSS 26 software, using Spearman’s rank correlation coefficient to examine relationships between demographic variables, purchase history, Kansei words, and product choices. The results showed that buyers were mostly looking for the beauty and uniqueness of products such as rings and women’s pendant sets. Among the Kansei words, authenticity (i.e., non-counterfeit gemstones), transparency, place-of-origin authenticity, natural design, and healing properties of the gemstone were of greater importance. Interestingly, while treated or enhanced stones were less valued, natural inclusions and internal patterns were often perceived as positive markers of genuineness. The younger generation was more likely to seek out uncut or raw gemstones such as rough diamonds, emeralds, and amethysts, indicating a growing appreciation for natural, unpolished aesthetics. The correlation analysis further revealed that with increasing age, buyers attached significantly more importance to warm colours (red, orange, yellow), traditional designs, natural patterns, and religious recommendations, whereas cool colours became less relevant. Higher educational levels were positively associated with preferences for authenticity, larger stone size, faceted (regular) cuts, and transparency. Economic status showed a positive correlation with previous purchases of rings and bracelets (99% confidence), and a moderate correlation with symbolic stones. In current purchases, higher income was moderately related to earrings and prayer beads (90% confidence). No significant correlation was found between age or education and current purchase behaviour, except that education correlated with agate and emerald preferences, while age correlated with turquoise, topaz, agate, and tiger’s eye. Additionally, strong positive correlations existed between prior and future purchases of rings, bracelets, pendants, and necklaces, suggesting habitual buying patterns. Most customers choose gemstones for personal use and as gifts for friends. Therefore, designers should consider age, education, and income variables alongside visual factors (colour, form, size, brilliance) and emotional factors (authenticity, uniqueness, perceived value) when designing products. It seems that customers in the gemstone products sector, despite being able to purchase precious metals such as gold and silver as an investment source, tend to choose gemstone products instead of precious metals, given the uniqueness of gemstone products and the unrepeatability of some of them among all products in this sector. Beauty is the most important purchasing priority for gemstone customers, so designers are advised to consider the principles of aesthetics (formal transparency and simplicity) and the personality of buyers in gemstone products. Moreover, products such as rough stones, brooches, carvings, and symbolic shapes (e.g., figures and fruits) remain relatively unknown to many enthusiasts, indicating a clear opportunity for market expansion through targeted design and education. Considering that this research has not been conducted in Iran, this research provides new insights to activists and people working in this industry to design and produce gemstone products in this sector according to the wishes, needs, and preferences of customers. The findings also underscore the need for systematic R&D in design, better branding for origin-specific gems (e.g., Neyshabur turquoise, Kerman demantoid), and the development of certification systems to reinforce authenticity. Finally, while the study was geographically limited to Tehran and used non-random purposive sampling in its qualitative phase, its outcomes offer a solid foundation for further research in other regions and for comparative cross-cultural studies on gemstone consumer behaviour.هنر صنعت گوهرسنگ در ایران علیرغم پتانسیل‌های بالا، به دلیل عدم انطباق طراحی‌ها با ترجیحات حسی مشتریان، با چالش توسعه بازار روبروست که یکی از لوازم آن طراحی محصولات بر اساس ترجیحات، سلیقه و نیاز مصرف‌کنندگان است. این تحقیق از نظر هدف، کاربردی و از نظر روش، آمیخته (کیفی-کمی) است. در فاز کیفی، از طریق مطالعات کتابخانه‌ای و مصاحبه با خبرگان، 28 واژه کانسی (حسی) استخراج و پالایش شد. در فاز کمی، پرسش‌نامه کانسی مبتنی بر مقیاس افتراق معنایی، میان 440 نفر از بازدیدکنندگان نمایشگاه‌های گوهرسنگ تهران در زمستان 1402 توزیع گردید. تحلیل داده‌ها با استفاده از آزمون‌های آماری در نرم‌افزار SPSS 26 صورت گرفت. نتایج نشان داد خریداران بیش‌تر به دنبال زیبایی و منحصربه‌فرد‌بودن محصولات مانند انگشتر، حلقه و ست آویز زنانه بودند. از واژگان کانسی، اصالت ساختاری، شفاف‌‌‌بودن و اصالت مکانی (منشأ جغرافیایی و معدن استخراج)، طرح طبیعی و خاصیت درمانی گوهرسنگ بالاترین میزان اهمیت را در جلب رضایت مشتریان داشتند. همچنین نسل جوان بیش‌تر به دنبال گوهرسنگ‌های تراش نخورده مانند الماس، زمرد و آمتیست بودند. یافته‌های این پژوهش با پیوند دادن مفاهیم مهندسی کانسی به طراحی محصول، نقشه راه ایمنی را برای طراحان و تولیدکنندگان جهت تولید گوهرسنگ‌های متناسب با ساختار روانی بازار ایران فراهم می‌سازد.https://jfava.ut.ac.ir/article_103539_427850d4d5a75d9c68ead118a51771c2.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923Analysis of the design and legibility of the Kufic inscriptions of Hawqalah (La Hawl) in the 10th to 13th centuries AHتحلیل طراحی و خوانایی کتیبه‌های بناییِ حَوقَلِه (لا حول) در سده‌های دهم تا سیزدهم هجری799210354010.22059/jfava.2025.396710.667499FAمهرنازرضایی تاجانیکارشناس ارشد هنر اسلامی (نقاشی ایرانی،) گروه هنر اسلامی، دانشکده حفاظت و مرمت، دانشگاه هنر ایران، تهران، ایران.0009-0005-5848-6335سعیدخودداری نائینیدانشیار گروه مطالعات موزه، دانشکده حفاظت و مرمت، دانشگاه هنر ایران، تهران، ایران.0000-0003-3063-7611Journal Article20250622Banna’i, also known as Square Kufic or Ma’qili, is a form of Islamic calligraphy used in the inscriptions of religious places, which have been implemented with different designs and dimensions. The earliest surviving example observed so far of the Banna’i Script is the wooden window of the tomb of one of the Imamzadehs (Shrines) in Iran dated 363 A.H. However, the Kufi script evolved in the 5th and 6th centuries A.H due to the flourishing of bricklaying and tile-making, and during the era of Ilkhani, Timurid and Safavid eras, it experienced its peak of prosperity and its use in decorating religious monuments can still be seen today. Although the majority of researchers believe that the Banna’i Script is seen in architectural decorations, including the inscriptions on the internal and external surfaces of religious buildings and is rarely seen in manuscripts, many examples of the squared (Banna’i or Ma’qili) script arranged in decorative patterns on paper, have been seen in the manuscripts of the Timurid, Safavid and especially Ottoman period. In a way, the harmony of this script with the form of brick has made it one of the frequent arrays in the decorations of holy architectural buildings, which always reminds of divine themes and remembrances. The design of Banna’i inscriptions has patterns and rules that are used for proper visual structure and readability. However, studies on the principles of designing Banna’i inscriptions remain limited and scattered. The famous phrase "Wa La Hawl" or "Hawqalah" is also one of the motifs of Banna’i inscriptions; for which various definitions and applications have been mentioned in different sources. Various designs of " Hawqalah" masonry inscriptions from the 10th century A.H can be seen in the existing examples of the architectural decorations of Iranian buildings. By examining the " Hawqalah" architectural inscriptions during the aforementioned period, six cases belonging to the Isfahan region were identified as existing and studyable examples. They were observed in the Hakim Mosque, the Jame Mosque, the Imam Jafar Sadiq (AS) School, the Nim Avard School, and the Sayyid Mosque. However, it seems that in some cases, including examples designed in the present era, these rules are not properly followed and the letters of the alphabet and Banna’i inscriptions are drawn incorrectly and with an incorrect pattern. One reason could be the lack of certain patterns and principles for the design of Kufic script and related inscriptions. The aim of this research is to analyze the rules and methods of designing "Hawqalah" architectural inscriptions and understand how they are networked in the form of Banna’i Calligraphy, so that by achieving a correct and practical pattern, designs appropriate for religious buildings can be recreated based on previous patterns. The research method in the study is descriptive with an analytical approach, and in terms of its objective, it is fundamental. Information was collected through library and field observation and the results were presented qualitatively. Different stages of analysis and design have been conducted using "Corel Draw" design software. In this process, while identifying historical examples of this inscription in architectural decorations; Its design patterns were examined and the networks used in their types were analyzed, and based on the principles of beauty and readability, in addition to criticizing some of the modern examples, several cases were presented. The analysis focuses particularly on the relationship between geometric structure, visual balance, legibility, and the functional requirements of inscriptions within architectural contexts and their adaptation to historical architectural surfaces and contemporary restoration practices. The findings show that the design of the "Hawqalah" architectural inscriptions is based on three types of geometric grids with line angles of 90, 45 and 50 degrees and observing the space of literacy and bayaz. By examining the ratio of literacy to bayaz in the samples, it was determined that in most of them, the literacy and bayaz units have the same dimensions, which has led to visual order. However, in the example of "Sayyid Mosque", the units, especially in the bayaz section, have been reduced to smaller scales, namely half a unit or a quarter of a unit; which has led to diversity in design, accuracy in composition and adaptation to the infrastructure. Also, in this study, four general layouts for designing "Hawqalah" in the form of a building line were identified. This process can be used in the restoration of architectural decorations of historical sites or the implementation of new and proposed inscriptions in contemporary buildings, by obtaining patterns for arranging the words of this phrase in a design that is both accurate and beautiful. The completeness of the selected phrase and the perfection of the alphabet in the text, as well as the modularity of the drawing, were considered by historical designers, and this issue should also be considered in the restoration of inscriptions and new architectural designs.خط بنایی از خطوط مورداستفاده در کتیبه نگاری بوده که با طراحی های مختلفی در ابنیه تاریخی اجرا شده است. عبارت «لا حول و لا قوه الا بالله العلی العظیم» که در اصطلاح به «لا حول» یا «حوقله» موسوم است، از نقوش پرتکرارهای بنایی است و بر اساس نمونه های موجود در تزیینات کتیبه‌ای معماری ایران، از سده دهم هجری به بعد دیده می‌شود. با بررسی کتیبه‌های بنایی «حوقله» در بازه زمانی مذکور، شش مورد متعلق به منطقه اصفهان به‌عنوان نمونه‌های موجود و قابل‌مطالعه، شناسایی شدند. بااین‌حال، مطالعات انجام‌شده در زمینه اصول ترسیم کتیبه‌های بنایی، همچنان محدود و پراکنده است. هدف این پژوهش، تحلیل قواعد و شیوه طراحی کتیبه‌های بنایی «حوقله» و فهم نحوه شبکه بندی آن‌ها در قالب خط بنایی است؛ تا بتوان با دستیابی به الگوی صحیح و کاربردی، طرح‌هایی متناسب با ابنیه مذهبی را بر اساس الگوهای پیشین بازآفرینی نمود. روش گردآوری اطلاعات به صورت کتابخانه ای و مشاهده میدانی، با رویکرد توصیفی- تحلیلی بوده؛ که نتایج آن به طور کیفی ارائه شده است. یافته‌های پژوهش نشان می‌دهد که طراحی کتیبه‌های بنایی «حوقله»، بر پایه سه نوع شبکه هندسی با زوایای خطوط 90، 45 و 50 درجه و رعایت فضای سواد و بیاض استوار است. با بررسی نسبت سواد به بیاض نمونه‌‌ها مشخص شد که در اکثر آن‌ها، واحدهای سواد و بیاض دارای ابعاد یکسان هستند و این امر منجر به ایجاد نظم بصری شده است. بااین‌حال، در نمونه «مسجد سید» واحدها به‌ویژه در بخش بیاض به مقیاس‌های کوچک‌تر یعنی نیم‌واحد یا ربع‌واحد تقلیل یافته‌اند؛ که موجب ایجاد تنوع در طرح، دقت در ترکیب‌بندی و انطباق با زیرساخت شده است. همچنین در این مطالعه، چهار چیدمان کلی برای طراحی «حوقله» در قالب خط بنایی شناسایی شد. این فرآیند می تواند با دستیابی به الگوهایی برای چینش کلماتِ این عبارت در طرح، به نحوی که هم صحت نوشتار داشته باشد و هم زیبایی، در مرمت تزیینات معماری اماکن تاریخی و یا اجرای کتیبه های نوین و پیشنهادی در بناهای معاصر، به کار آید.https://jfava.ut.ac.ir/article_103540_e04efbe5b8c1081a2f19d0176b450172.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260927Comparing Representation Strategies in a Selection of Middle Eastern War Posters from the Perspective of Social Semioticsسیاست بازنمایی در پوسترهای جنگ ایران، عراق و افغانستان: مطالعه‌ای تطبیقی با رویکرد نشانه‌شناسی اجتماعی9310410391810.22059/jfava.2025.396630.667497FAنداشفیقیاستادیار گروه صنایع دستی و پژوهش هنر، دانشکده هنر و معماری، دانشگاه مازندران، بابلسر، ایران.0000-0002-1844-7615Journal Article20250603During the final decades of the twentieth century, the Middle East was the stage of large-scale military conflicts, notably the Iran-Iraq War and the Soviet occupation of Afghanistan, that reshaped regional geopolitics and visual-media production. War posters, as instruments of visual communication circulating within distinct cultural settings, played a central role in shaping the collective experience of war and constructing ideologically charged narratives that went far beyond simple propaganda. Rather than mere devices for information or mobilization, these visual texts organized subjectivities and drew boundaries between self and other. Comparative studies of representational strategies across neighboring yet ideologically distinct Middle Eastern cultures remain scarce, and Persian-language scholarship has paid limited attention to this intersection of image and ideology. Deeply addressing this gap, the present study undertakes a comparative visual analysis of three war posters produced in the 1980s: an Iranian poster from the Iran-Iraq War, an Afghan poster from the anti-Soviet resistance, and an Iraqi poster from the Ba'athist propaganda campaign against Iran. The central question asks how the politics of representation is organized across images from three distinct cultures sharing a common timeframe. To answer this question, the study applies the social semiotic framework developed by Gunther Kress and Theo van Leeuwen, examining each poster through its representational, interactive, and compositional metafunctions, along with the related notion of visual modality. Methodologically, the research follows a qualitative, library-based, document-driven design. Three posters were purposively selected from digital and physical archives and war-related collections based on thematic, geographical, temporal, and perspectival diversity, all produced within a shared historical window (the 1980s to early 1990s) by state-affiliated or partisan media. Supporting textual materials, including scholarly articles and historical records, were gathered to contextualize each image's background and inform the semiotic reading. No fieldwork, interviews, or questionnaires were employed; the analysis relies on visual and documentary evidence, examining participants, actions, gaze, angle, framing, color, and composition in each poster. The findings show that although all three posters mobilize religious motifs, heroic figures, and national scripts to construct narratives of struggle, resistance, and legitimacy, their representational logic and structure diverge, reflecting each country's cultural-ideological context. The Iranian poster foregrounds collective participation through a multi-actor composition—a soldier, a cleric, a barefoot youth, and a veiled woman holding a child and a red flower—arranged in a circular structure that fuses religious symbolism with popular mobilization; the enemy remains visually absent, invoked only through the trilingual inscription "Sacred Defense Week" and the implicit presence of arms. An eye-level angle and moderate modality invite the viewer into a shared plane of identification rather than distant observation. The Afghan poster centers a lone mujahid rendered in flat, high-contrast color and simplified line, standing before a defeated red bear symbolizing the Soviet Union, with the Quran in one hand and a raised Kalashnikov in the other; a slightly low angle magnifies his stature, the absent gaze produces an offer-type image meant for admiration rather than address, and the slogan "Allahu Akbar" beside the Latin-script word AFGHANISTAN fuses religious legitimacy with an internationally legible national identity. The Iraqi poster glorifies Arab supremacy through a mounted warrior in dynamic, diagonal motion, enveloped by dense Arabic calligraphy functioning as both aesthetic ground and marker of an all-encompassing Arab identity; the Persian enemy is never depicted, appearing only through the derogatory reference "al-'Aduw al-Farisi" and the historically loaded title "Saddam's Qadisiyyah," reactivating the seventh-century Arab-Sasanian battle to naturalize enmity toward Iran as ancient and inevitable. Across all three cases, the enemy is erased, diminished, or reduced to text rather than depicted, an omission that concentrates attention on the heroism and legitimacy of the self. The discussion further shows that each poster mobilizes distinct interactive and compositional resources—gaze, social distance, framing, color—to position the viewer ideologically, and that the line between passive representation and discursive agency blurs: rather than reflecting war, these images construct realities viewers are invited to inhabit, join, or resist. The Iranian poster invites participatory identification, the Afghan poster delivers an unambiguous, slogan-like message, and the Iraqi poster performs myth-making that persuades through symbolic authority rather than dialogue. This approach highlights how visual form transforms historical memory into persuasive political narratives within wartime communication. The study finally concludes that representation strategies are shaped by each nation's historical and socio-political configuration, particularly the religion-state relationship in producing legitimacy, the degree of individual versus collective focus in resistance, and the role of gender and ethnicity in addressing the audience. While the findings, grounded in three symbolic cases, cannot be unconditionally generalized, the extracted patterns—enemy erasure, identity-forming symbols, and viewing-angle strategies—offer a substantive contribution to understanding how images function as active instruments of meaning-making, legitimacy, and emotional-political structuring in wartime, and call for further cross-cultural research into how meaning, identity, and ideology are negotiated through imagery in conflict zonesدر دهه‌های پایانی قرن بیستم، خاورمیانه شاهد درگیری‌های نظامی گسترده‌ای بود که هم جغرافیای سیاسی منطقه را دگرگون ساخت و هم بر تولیدات فرهنگی و رسانه‌ای اثر گذاشت. پوسترهای تبلیغاتی جنگ به‌عنوان ابزار ارتباط بصری و در بسترهای فرهنگی مختلف در شکل‌دهی به تجربه‌ی جمعی جنگ نقش داشتند. این پژوهش با هدف فهم چگونگی بازنمایی دشمن و خود در پوسترهای جنگی ایران، افغانستان و عراق، به تحلیل این تصاویر از منظر نشانه‌شناسی اجتماعی می‌پردازد. پرسش اصلی آن است که سیاست بازنمایی چگونه در تصاویر متعلق به سه زمینه‌ی فرهنگی متمایز، اما در بازه‌ی زمانی مشترک (دهه 1980م.)، سامان می‌گیرد؟ برای پاسخ، چارچوب تئو ون‌لیوون و گونتر کرس در نشانه‌شناسی اجتماعی تصویر به کار گرفته‌شده و سه پوستر با زمینه‌های فرهنگی متفاوت، در فرایندی کیفی، تحلیل و مقایسه شدند. نتایج نشان می‌دهد که هر سه پوستر، با وجود انتقال ایدئولوژی ملی، از راهبردهای بازنمایی متفاوتی بهره می‌گیرند. پوستر ایرانی با تأکید بر مشارکت جمعی و تلفیق هویت دینی–مردمی، پوستر افغانستانی با برجسته‌سازی قهرمان‌گرایی فردی و هویت اسلامی–ملی و پوستر عراقی با نمایش اقتدار قومی و حذف تصویر دشمن، هر یک منطق بازنمایی متمایزی را شکل می‌دهند. این تفاوت‌ها نشان می‌دهد که سیاست‌های بازنمایی بصری، متناسب با زمینه‌های فرهنگی و ایدئولوژیک هر جامعه سازمان می‌یابند.https://jfava.ut.ac.ir/article_103918_e26008458428ff1d95510c3cb9ee0841.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603931320260923Pause, Semantic Density, and Repetition in Reading Haft Paykar: A Visual Construction of Philippe Hamon’s Model of Descriptive Time in Persian Miniature Painting (Case Study: Manuscripts at the Bibliothèque nationale de France)درنگ، تراکم معنایی و تکرار در خوانش هفت‌پیکر؛ برساخت تجسمی از الگوی زمان توصیفی فیلیپ هامون در نگارگری ایرانی (مطالعه موردی: دو نسخه از کتابخانه ملی فرانسه)10711710678810.22059/jfava.2026.406228.667612FAحجت الهعسکری الموتیاستادیار گروه صنایع دستی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.0000-0001-6275-288XJournal Article20251117This study investigates descriptive temporality in Nezami Ganjavi’s Haft-Peykar through a comparative analysis of poetic text and pictorial representation in Persian manuscript painting. Although Haft-Peykar has been widely examined from literary, iconographic, and stylistic perspectives, the temporal organization of description and its visual reconstruction have received comparatively limited attention. Within structuralist narratology, Philippe Hamon’s account of descriptive discourse explains how description interrupts narrative progression, expands semantic organization, and transforms the reader’s experience of time. Rather than treating Hamon’s reflections as a fixed model directly applicable to visual representation, this study reconstructs a descriptive temporal framework inspired by his conceptualization of descriptive discourse. The framework is organized around three interrelated dimensions—pause, semantic density, and repetition—which serve as operational categories for examining the temporal organization of poetic language and pictorial composition. The study focuses on two illustrated manuscripts of Nezami’s Khamsa, dated 938 AH and 997 AH, preserved in the Bibliothèque nationale de France. Analysis is limited to the seven dome narratives of Haft-Peykar, where descriptive passages provide a principal mechanism connecting poetic expression with visual representation. Employing a descriptive-comparative methodology, relevant poetic passages were first classified according to their dominant descriptive or narrative functions. Corresponding illustrations were then examined through the proposed framework, with pause, semantic density, and repetition analyzed in relation to compositional stability, figural stasis, chromatic organization, spatial enclosure, ornamental accumulation, motif recurrence, and directional movement. The purpose was not merely to identify iconographic correspondences between text and image, but to determine how each medium reorganizes narrative time through descriptive structures and produces distinctive modes of temporal perception. The findings demonstrate that descriptive temporality constitutes a shared organizational principle in both literary and visual dimensions of Haft-Peykar, although each medium realizes it through different formal mechanisms. In the poem, descriptive pause emerges through relative suspension of action, lexical accumulation, metaphorical elaboration, and chromatic vocabulary, slowing narrative progression and encouraging contemplative reading. In the paintings, pause is reconstructed through compositional balance, restrained bodily movement, symmetrical arrangements, and spatial stability that prolong engagement with the pictorial surface. Semantic density likewise operates differently across the two media. In the poem, it results from accumulated descriptive vocabulary, symbolic references, and layered metaphors. In the paintings, it is generated through architectural articulation, ornamental elaboration, chromatic richness, and the coexistence of multiple symbolic motifs within a single visual field, inviting prolonged perceptual exploration. Repetition forms the third dimension of descriptive temporality. Recurrent lexical structures and descriptive patterns correspond to recurring motifs, geometric rhythms, ornamental sequences, and repeated visual configurations. Rather than functioning merely as decoration, repetition establishes continuity, reinforces symbolic meaning, and reorganizes temporal perception beyond linear narrative succession. The comparison also reveals significant differences between the two manuscripts. The 938 AH manuscript constructs descriptive temporality through visual abundance, employing numerous figures, decorative motifs, architectural complexity, and chromatic variation to extend the duration of visual observation. By contrast, the 997 AH manuscript produces a more concentrated descriptive temporality through compositional restraint, reduced ornamentation, and condensation of symbolic meaning within a controlled pictorial structure. These contrasting strategies demonstrate that descriptive temporality does not depend on visual complexity alone but may be achieved through different modes of pictorial organization. In both manuscripts, temporal experience is shaped less by sequential narration than by sustained acts of perception that repeatedly redirect attention from narrative action toward symbolic contemplation. The study therefore argues that these visual configurations can be understood as a pictorial reconstruction of the descriptive temporal pattern conceptualized by Hamon rather than as a direct application of his literary theory. The proposed framework distinguishes Hamon’s theoretical reflections on descriptive discourse from the operational model developed for interpreting Persian manuscript painting. Within this reconstructed model, pause, semantic density, and repetition function as interconnected dimensions through which descriptive temporality becomes visually intelligible. Ritual repetition is additionally introduced as a complementary interpretive category for explaining forms of symbolic continuity emerging from the cultural and visual logic of Persian manuscript illustration, without attributing this category to Hamon’s original formulation. This approach also highlights the importance of medium-specific transformation: textual description unfolds through linguistic succession, whereas pictorial description operates through simultaneous visual relations. Consequently, the viewer’s temporal experience is not simply equivalent to the reader’s experience, but is produced through a different configuration of attention, duration, and symbolic association. The framework therefore provides a basis for comparing literary and visual temporality without reducing one medium to the other in detail. Overall, the study demonstrates that the miniatures of Haft-Peykar should not be regarded merely as visual translations of literary narration, but as autonomous descriptive systems that reconstruct temporal experience through specifically pictorial means. By comparatively applying a theoretically grounded framework to poetic and visual narratives, the research offers a transferable methodology for investigating descriptive temporality in Persian manuscript painting and contributes to dialogue among narratology, visual semiotics, and Islamic art history.هفت‌پیکر نظامی گنجوی، به‌عنوان یکی از مهم‌ترین منظومه‌های ادبیات فارسی، همواره الهام‌بخش نگارگران ایرانی بوده است. با وجود پژوهش‌های متعدد درباره متن و نگاره‌های این اثر، چگونگی بازنمایی زمان توصیفی در متن و تصویر کمتر به‌صورت تطبیقی بررسی شده است. این پژوهش با بهره‌گیری از آرای فیلیپ هامون درباره گفتمان توصیفی، چارچوبی تحلیلی برای مطالعه زمان توصیفی در متن و نگاره‌های هفت‌پیکر ارائه می‌کند. بدین منظور، دو نسخه مصور هم‌عصر از خمسه نظامی (۹۳۸ و ۹۹۷ هجری قمری) موجود در کتابخانه ملی فرانسه به‌صورت هدفمند انتخاب شد. پرسش اصلی پژوهش این است که زمان توصیفی در متن هفت‌پیکر و نگاره‌های آن، بر پایه چارچوب تحلیلی برساخته از گفتمان توصیفی هامون، چگونه سازمان می‌یابد. پژوهش با روش توصیفی-تطبیقی با رویکرد تحلیلی ساختارگرایانه-روایت‌شناسانه انجام شده و تحلیل بر سه شاخصه درنگ، تراکم معنایی و تکرار استوار است. یافته‌ها نشان می‌دهد که در شاخص درنگ، نظامی با کاهش افعال حرکتی و گسترش توصیف‌های ایستا، جریان روایت را به تعلیق درمی‌آورد و این ویژگی در نگاره‌ها با ایستایی ژست‌ها، تعادل ترکیب‌بندی و کاهش نشانه‌های حرکت بازنمایی می‌شود. در بعد تراکم معنایی، شعر از طریق انباشت واژگان رنگ، نور و استعاره و نگاره‌ها از طریق تنوع عناصر تصویری، تزئینات و رنگ، لایه‌های معنایی متعددی را شکل می‌دهند. در شاخصه تکرار نیز بازگشت الگوهای زبانی در متن با تکرار موتیف‌ها و ریتم‌های بصری در تصویر متناظر است و زمان روایت را از توالی صرف رویدادها به تجربه‌ای تأملی تبدیل می‌کند. نتایج نشان می‌دهد چارچوب تحلیلی برساخته بر پایه آرای هامون، افزون بر تحلیل متن ادبی، قابلیت تبیین منطق زمان توصیفی در نگارگری ایرانی را نیز دارد و امکان مطالعه تطبیقی روایت ادبی و روایت تصویری را در چارچوبی واحد فراهم می‌سازد.https://jfava.ut.ac.ir/article_106788_5ffa999902d468ea05a2db3b34915ca8.pdf