Transtextual study of Farhad in Parviz Tanavoli's copper sculptures

Tanavoli to keep the name of his teacher alive. He chose Farhad Kohkan from Iranian literature as a subject for sculpture and to respect his teacher. Farhad mixed with Saqakhane water taps, locks and windows of blessed places in his sculptures. He connected this way of thinking and beliefs of a nation with his own menus. intelligent approach along with modern art approaches that also received the praise of traditional art fans. When facing these statues, alittle proximity to the human body can be found. These sculptures are attributed to Farhad Nezami, due to the expression of the artist and the naming of the works. This research examines the differences and commonalities of Farhad's character in the Nizami story and Tanavoli sculptures. Analyzing the meanings in the hidden layers of Farhad's personality in Tanavoli's works is another goal of the research. The research questions are: 1. How can Farhad in Khamsa Nizami be interpreted as hypotext and Farhad in Tanavoli's works as Hypertext and what are the points of commonality and difference between them? 2. To what extent has Tanavoli been faithful to Farhad's character in hypotext in his works and what are the meanings and concepts of the artist's additions in Hypertext?

This research is based on a descriptive-analytical method with a comparative approach. The method of analyzing works is qualitative. Collecting library information with scanning tools is new. Parviz Tanavoli has 15 copper sculptures related to Farhad Kohkan, among which 9 works were selected as research samples in a non-probabilistic way. The explanation is that the artist changed the title of some of these works to poet or lover due to the lack of recognition of Farhad and his character in Iranian literature by the international community.

The results of the research show that the words Parviz and Bulbul have appeared in visual texts in the intertextuality with clear verbal reference of the writing system. In the visual text, Farhad's character is referred to in the verbal text with implicit references. In hypertextuality, the artist in the creation of Farhad's character has in all cases transformed, replaced and increased the proportion of hypotext, which due to the transformation and change of nature combined with the humor of street market with Farhad's character Transformation in the form travestissement is observed. The artist has tried to use the content of the verbal narrative to create a new narrative based on their mental desire in hypertext. The titles chosen for works such as paratextuality have increased the connection between hypotext and Hypertext and directs the perception of Farhad Kohkan's character in hypertext by the readers.The author of hypertext did not limit himself to the general theme of the verbal text, he tried to deal with the character of Farhad with a different approach in the content. Therefore, the relationship between verbal text and visual texts based on derivation with transformation, increase and substitution has led to the expansion of internal elements in the form of travestissement and charge in the text.