دانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Analysis of the interconnected components of modern and pre-modern art in conceptual artتحلیل مؤلفههای پیوستی هنر مدرن و پیشامدرن در هنر مفهومی116882710.22124/ira.2025.30409.1058FAرضارفیعی راددکتری هنرهای اسلامی، دانشگاه هنر اسلامی تبریز، ایرانJournal Article20250417<strong>Background: </strong>If the originality and unexpectedness of the work of art were principles that modernism paid great attention to, the formalist post-painting exhibitions held in the fifties were extremely repetitive. Gradually, modernity fell out of fashion. Stylism, the invention of new forms, and the purity and purism that had been the preoccupation of painters and modernism for years no longer flourished. An era that had spent years trying to establish a historical identity for itself was now disappearing and disappearing before the astonished eyes of everyone. Thus, conceptual art, in the general sense of the word, took on meaning in reaction and opposition to formalism, which, to its extremes, considered content, idea, and concept to be of little importance. This art was the product of successive and successful rebellions against the four characteristics of art: material objectivity, media expression, visuality, and independence, which modern art at its peak had proposed as the main foundations of art. However, conceptual art took into account some components of schools such as Futurism, Dadaism, Surrealism, and Constructivism that had emerged between the two world wars, and even changed or enhanced their meaning. In fact, art is not a concept that has suddenly become a part of the art and thought that preceded it. Rather, in critical thought, it has been the heir of the past and its continuation in other forms; but in other respects, it is negative, contradictory, indifferent, and in contradiction with the past. These characteristics make this research unrelated to theories that propose that postmodernity is anti-modern.<br /><strong>Objectives: </strong>This study aims to extract and explain the continuous components of conceptual art, considering this rupture and classification of the types of negations that formed conceptual art. The question is, what continuous components have existed in conceptual art from the modern and pre-modern eras, and what developments and transformations have they undergone?<br /><strong>Method: </strong>The present research is of a qualitative type, using a descriptive-analytical method and library resources. The method of analysis in the present research is based on propositional induction, and the content analysis method in this research provides an analytical typology and the necessary skills for qualitative analyses through data classification and finding input and output patterns. Content analysis is a method by which the required concepts can be extracted from the text and organized into regular categories. This method assumes that by analyzing linguistic messages, it is possible to discover the meanings and ways of understanding texts. In fact, the goal of conventional content analysis is to help generate research findings by paying attention to dominant and common themes in the data in a way that provides extensive, concise textual information and a precise and clear relationship between the research questions and the findings. Therefore, relying on the inductive content analysis method, first, all texts that deal with conceptual art were collected and then non-randomly, to identify the characteristics and features of conceptual art in the text, sampling was conducted and a checklist was taken. Then, specific patterns were discovered, relying on the connected components that have perpetuated the relationship between modern and pre-modern art and conceptual art.<br /><strong>Conclusion: </strong>However, with the emergence of contemporary art from the 1960s onwards, which developed as postmodern art, the rules of modern art and aesthetics were subjected to fundamental criticisms of critical thought, and the concept of art, from the depths of negation and denial, such as rebellion against the work of art as an object of art, the specificity of the medium of art, the role of the cogito in art, the commodification of art, the inner gaze, quality, stylistic distinction, and the uniqueness of the work of art, made its existence clearer and more definitive. But the aspect of contemporaneity in conceptual art was not reduced solely to these rebellions and negations, but rather the transition from modern to postmodern religion (or, as Kekelen argues, from the religion of consumption to the religion of communication) was accompanied by associated components that developed and emerged within conceptual art from both the pre-modern and modern eras and sometimes emerged with changes and developments. Among them was representation in art, which had always been present in art in various ways, but this time it took on a new form and, with the dissolution of the boundaries between art, the art object, and the object of life, became identical to each other. It went even further and figurative art also transformed. In a way that man and sculpture, life and self-representation, were also assimilated pragmatically. Another connected component is the long-standing function of language in art, which also appeared in a transformed way in conceptual art. Before that, the Dadaists had used language in their works by playing with the rules of language in the field of art and also by using linguistic qualities such as humor, satire, allusion, imitation, and mockery. But in conceptual art, especially the art and language group, the artist, with the decline of the inherent tools of art criticism, took the position of the critic and thus stepped into the field of language and philosophy clearly, and the work of art also became a response to the essence of art and was in line with the definition of art. The tradition of English romantic landscape painting is another continuous component in conceptual art that was manifested in Land Art and, by subverting the limitations of painting, expanded the area of the painting canvas to the surfaces of the earth and fulfilled the desire of the landscape painter about the presence of the audience in the landscape through the painting canvas. Also, some works of Land Art emphasize in some way the historical-mythical tradition of cultivation and the art of packaging.در تاریخ هنر غرب، پس از 1960م هرآنچه که فرمالیسم گرینبرگی، تحتعنوان نگهبان کیفیات بصری میخواند، توسط فرهنگ بورژوا بلعیده شد و آوانگاردیسم در نقاشی پسانقاشانه در اوج پیروزی، به پایان رسید. در این زمان هنر مفهومی در میان شورشهای پیاپی علیه دستاوردهای هنر مدرن سربرآورد و از لابهلای نفی ابژه عینی هنر، مدیوم اختصاصی هنر، کوجیتو، وجه کالایی هنر، تمایز سبکی و کیفیت زیباییشناسانه شکل گرفت. اما مسئله تحلیل مؤلفههای پیوستی در گذار از آیین مصرف (مدرن) به آئین ارتباطات (مابعد مدرن) است که این مقاله سعی دارد به استخراج آنها از لابهلای نظریه آن ککلن و آثار مفهومی بپردازد. ازاینرو هدف پژوهش حاضر، جستوجوی مؤلفههایی است که آن ککلن از آن بهعنوان مؤلفههای پیوستی نام میبرد و مراد از آن عبور از آئین مصرف (هماهنگ با هنر مدرن) به آیین ارتباطات (مرتبط با هنر مفهومی) و بررسی تحولات و دگرگونیهای آنها در این دوره است. پژوهش حاضر با روش توصیفی ـ تحلیلی و با استفاده از منابع کتابخانهای و بر مبنای نظریات آن ککلن بهصورت تحلیل محتوا به انجام رسید که در آن ابتدا ویژگیها و مشخصات هنر مفهومی به شکل توصیفی بیان شده، سپس مؤلفههای پیوستی در گذار از هنر پیشامدرن و هنر مدرن به هنر مفهومی، در آن شناسایی و تبیین گردید. در پاسخ به این سؤال که در هنر مفهومی چه مؤلفههای پیوستی از دوران مدرن و پیشامدرن وجود داشته و چه تحولات و دگرگونیهایی حاصل نمودهاند، به نتایجی دست یافت. از جمله میتوان به دگرگونیهای بازنمایی در هنر اشاره کرد که با اضمحلال مرزهای هنر، شیء هنری و شیء زندگی، برپایۀ پراگماتیسم حاکم، با یکدیگر یکسانسازی شدند. همچنین مؤلفۀ پیوستی کارکرد زبان در هنر، که سابقۀ آن به اختراع خط تصویری میرسد و در دوران مدرن نیز خصوصاً در دادائیسم مورد توجه ویژۀ هنرمندان قرار گرفت، به شکلی تحولیافته، ظهور یافت. چنانکه میتوان به بهرهگیری گروه هنر و زبان از این کارکرد، جلوس هنرمند به جایگاه منتقد بهدلیل زوال لوازم ذاتی نقد و تعریف اثر هنری به پرسش از چیستی هنر اشاره نمود. همچنین، میتوان به تجلی منظرهسازی رمانتیک انگلیسی در لند آرت و گسترش بوم نقاشی و حضور مخاطب در منظره، همچنین تأکید بر سنت تاریخی ـ اسطورهای کشت و زرع و نیز هنر پکیجینگ در لند آرت اشاره کرد.https://ira.guilan.ac.ir/article_8827_b15c3863761bde558bb7448359c72f2a.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Analyzing the Effects of Environmental Graphics on the Society’s Excellenceتحلیل نقش گرافیک محیطی بر تعالی جامعه1740885510.22124/ira.2025.30601.1062FAنجیبهرحمانیاستادیار گروه ارتباط تصویری، دانشکده هنر و معماری، دانشگاه سمنان، سمنان، ایرانحسینشجاعیاستادیار گروه ارتباط تصویری، دانشکده هنر و معماری، دانشگاه سمنان، سمنان، ایرانJournal Article20250506<strong>Background</strong>: Environmental graphics, as an influential art form in urban life, hold substantial potential both spiritually and materially to elevate the community level. Many people view environmental graphics solely as a tool for information dissemination, often limited to wayfinding, guide signs, stands, and outdoor advertising. However, given its extensive scope, environmental graphics can serve as a leading medium for reaching excellence and guiding society toward spiritual and material dynamism. This article thus explores the role of environmental graphics in the excellence of contemporary society. The city and its environment have long been venues for cultural and artistic reflection. Environmental graphics align with two complementary missions: firstly, to prepare the environment for effective communication, enabling easy navigation and standardized accessibility to pathways. Secondly, it should fulfill roles like beautification and identity development within urban spaces. In this capacity, the urban environment becomes a powerful setting for both the spiritual and material enhancement of citizens, which transforms the environmental graphics into a functional and uplifting art form.<br /><strong>method:</strong> This article employs a descriptive-analytical method to explore the characteristics of excellence in environmental graphics. The study considers aspects such as relaxation, vitalization, creativity, inspiration, and identity development—qualities that significantly contribute to achieving a more elevated, vibrant, and successful community. Information is gathered through a literature review, guided by the central question: What are the enhancing aspects of environmental graphics for society, and how do they function? The final results demonstrate that environmental graphics, as an art form closely linked with society, can prove both spiritual and material vitality in urban life.<br /><strong>Results</strong>: One of the most profound impacts of environmental graphics is their ability to reinforce cultural identity. Cities are not just collections of infrastructure; they are living entities with unique histories, traditions, and values. Through murals, typography, and symbolic imagery, environmental graphics can weave local heritage into the urban fabric. For example, a neighborhood with a strong artistic legacy might incorporate street art and custom lettering into its signage, while a historic district could use motifs inspired by its architectural past. This approach not only beautifies the city but also fosters a sense of pride and belonging among residents. When people see their culture reflected in public spaces, they develop a deeper emotional connection to their surroundings, strengthening community ties and encouraging civic engagement. <br />Beyond cultural expression, environmental graphics contribute significantly to the aesthetic transformation of urban spaces. Many cities suffer from visual clutter—generic signage, chaotic advertisements, and uninspiring facades that create a sense of disorder. Thoughtfully designed environmental graphics can counteract this by introducing harmony and creativity into the urban landscape. Colorful wayfinding markers, artistic street installations, and cohesive branding in public areas can turn mundane spaces into visually stimulating experiences. Research has shown that aesthetically pleasing environments reduce stress and enhance mood, making cities not just more functional but also more enjoyable places to live. A well-designed bus stop, for example, is not just about providing shelter—it can incorporate local art, clear information displays, and even interactive elements that make waiting an engaging experience rather than a chore. <br />However, beauty alone is not enough; functionality must go hand in hand with design. Standardization in environmental graphics ensures clarity and accessibility, preventing visual confusion that can arise from overly artistic but impractical designs. A balance must be struck between creativity and readability—signage should be instantly recognizable, typography should be legible, and color schemes should follow universal accessibility guidelines. Cities like Copenhagen and Zurich excel in this regard, using minimalist yet expressive design systems that maintain consistency while still allowing for artistic flair. When environmental graphics adhere to these principles, they create intuitive, user-friendly spaces where people can navigate effortlessly, regardless of language or cultural background. <br />The intersection of cultural storytelling, visual enhancement, and functional design is where environmental graphics truly shine in urban settings. By embedding local identity into public spaces, elevating aesthetics, and maintaining high usability standards, cities can transform into more inviting, efficient, and emotionally resonant places. As urbanization continues to accelerate, the thoughtful integration of environmental graphics will be essential in shaping cities that are not only livable but also inspiring—spaces where people don’t just exist, but truly feel at home. <br />In essence, "excellence" in this context refers to growth and flourishing. It is referred to as a move towards a specific goal. By improving the quality of urban life and creating a pleasant setting for residents, environmental graphics foster growth and flourishing. This field establishes a conducive environment for mental growth through motivations such as relaxation, inspiration, identity development, and creativity. Additionally, by promoting material aspects such as urban tourism development, it also facilitates economic growth.<br />Often referred to as "experience graphic design," environmental graphics aim to create an engaging environment that resonates with people. They intersect with fields like industrial design, architecture, and urban planning, requiring graphic designers to collaborate across disciplines on environmental graphics projects. Environmental graphics also encompass interior and landscape design, linking to industrial design, urban planning, and behavioral psychology. Thus, environmental graphics can be seen as the interface between art and technology in the urban space, incorporating digital displays, urban lighting systems, interactive devices, and more.<br /><strong>Conclusion</strong>:The present study gathers information using a descriptive-analytical approach through library sources, drawing on books, articles, and electronic media focused on environmental graphics, public art, and urban tourism to access the latest insights into the role of environmental graphics in urban life. Key variables, such as environmental graphics, enhancement, relaxation, creativity, and others, are defined and analyzed systematically. The case studies were selected randomly based on their effectiveness in demonstrating the impact of environmental graphics on urban life quality.Given the enhancement potential of environmental graphics, this article examines these capabilities, introduces them, and evaluates their impact on society. The objective is to showcase the latent possibilities that can pave the way for a more elevated environment. This research is conducted through a descriptive-analytical method. گرافیک محیطی بهعنوان دانشی تاثیرگذار در حوزه زندگی شهری تواناییهای فراوانی به لحاظ معنوی و مادی در ارتقاء جامعه دارد. این پژوهش با هدف بررسی نقش تعالیبخش گرافیک محیطی در ارتقای کیفیت زندگی شهری انجام شده است. سؤال اصلی تحقیق این است که شاخصههای تعالیبخش در حوزه گرافیک محیطی چه هستند و عملکردشان چگونه است؟ با توجه به چالشهای روانی ـ اجتماعی زندگی مدرن از جمله آشفتگی بصری، بیهویتی و استرسهای محیطی، گرافیک محیطی بهعنوان ابزاری راهبردی برای ایجاد تعادل بین کالبد شهر و نیازهای معنوی شهروندان موردتوجه قرار گرفته است. مطالعه حاضر از نوع توصیفی ـ تحلیلی با رویکرد کیفی است، دادههای آن از طریق مطالعات اسنادی جمعآوری شده است که براساس معیارهای معروفیت و تنوع عملکردی انتخاب شدهاند. یافتهها نشان میدهد گرافیک محیطی از طریق پنج مکانیسم اصلی آرامشبخشی، حیاتبخشی، خلاقیتآفرینی، الهامبخشی و هویتسازی قادر است کیفیت زندگی شهری را افزایش دهد. نتایج پژوهش حاکی از آن است که گرافیک محیطی با ساماندهی نظام نشانهای شهر، تلفیق هنر و کارکردهای اجتماعی و بازتولید خاطرات جمعی میتواند بهعنوان موتور محرکه توسعه شهری انسانمحور عمل کند. این یافتهها میتواند مبنای علمی برای تنظیم منشور طراحی گرافیک محیطی در سیاستگذاریهای شهری قرار گیرد و راه را برای مطالعات آینده در زمینه سنجش تأثیرات روانشناختی و بررسی تطبیقی در بافتهای مختلف جغرافیایی ـ فرهنگی هموار سازد. گرافیک محیطی بهعنوان هنری تنگاتنگ با اجتماع میتواند پویایی، سرزندگی مادی و معنوی به حیات زندگی شهری تزریق نماید.https://ira.guilan.ac.ir/article_8855_d8e27b6b917a04044b71078ca88163ed.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122A Comparative Study of Manufacture Technique of Niello (Black Enamel) in Iran and the Bidri Art of Indiaمطالعه تطبیقی تکنیک ساخت و اجرای فلزکاری سیاهقلم (مینای سیاه) ایران و هنر بیدریآرت هندوستان4168887910.22124/ira.2025.30597.1061FAسحرذکاوتدکترای تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه هنر اسلامی، دانشگاه شاهد، تهران، ایران0000-0001-7488-6527خشایارقاضیزادهدانشیار، گروه هنر اسلامی، دانشگاه شاهد، تهران، ایرانشهریارشکرپوراستادیار، گروه هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایرانJournal Article20250506<strong>Introduction: </strong>The art of inlaying is called the art of placing metals and precious stones on other metals and it is considered one of the richest and ancient artistic methods in the history of Iranian and Indian art. Niello art in Iran and Bidri art in India are methods of inlay in metalwork, and the final results of both methods produce a black color on the surface of the base metal. This similarity in the final products of the Niello and Bidri methods in both countries necessitated the need to conduct the present study. Familiarity with different artistic methods and styles is also essential for researchers in the fields of applied arts and traditional arts, as well as artisans and this research has attempted to provide artisans with the necessary technical and empirical knowledge to introduce the practical technical points of Niello or Black Enamel metalworking techniques and the Indian Bidri art. Therefore, the objectives of the present study are to identify the characteristics of the creation and execution of the Iranian Niello and Indian Bidri artistic styles, as well as to recognize the similarities and differences between the styles.<br /><strong>Background: </strong>Searches show that no study with the exact title "A Comparative Study of the Manufacture Technique of Niello (Black Enamel) in Iran and the Bidri Art of India" has been found. But numerous studies have been conducted on Niello and the present research is considered an original and innovative study in terms of its comparative approach in the technical study as well as the construction and execution of Iranian Niello metalwork (black enamel) and Indian Bidri art. This point distinguishes the present research from existing studies.<br /><strong>Research methodology: </strong>In the present study, Iranian Niello art and Indian Bidri art have been studied in two different geographies using library, documentary, and field information with a descriptive-analytical and comparative approach and the choice of Iranian Niello and Indian Bidri art techniques was purposeful, and the data analysis method is qualitative.<br /><strong>Discussion and analysis: </strong>The results of the research show that the Iranian Niello metalworking method is a combination of metal sulfides and an alloy of the elements silver, copper, lead, and sulfur and the Armenians of Tabriz and the Mandaean Sabeins of Ahvaz manufacture and produce it with differences in the amount of these elements. Engraving is also the most important method used to create grooves on the surface of gold and silver metals to create decorative motifs. In the case of Indian Bidri art, engraving is also an important method of creating grooves and decorative motifs on metal made of zinc and copper alloy and Silver and gold inlay is applied to the engraved parts and the main factor in blackening is the oxidation process, and artists blacken the final work by immersing it in a paste-like mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native Bidar clay. Also, the final product in both countries consists of a two-tone silver and black or gold and black; while the blackening agent in Niello art is an alloy of silver, copper, lead, and sulfur and in the Bidri art, oxidation and a paste mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native clay are used as blackening agents. The basic material of the work among the Armenians is silver, the Mandaeans use gold and silver, and the Indian Bidri art uses an alloy of zinc and copper or an alloy of zinc, copper, lead, and tin.<br />The differences and similarities between the two artistic styles are presented in Table 1:<br /><br />سیاهقلم یکی از شیوههای تزئینی فلزکاری و آلیاژی از فلزات نقره، مس، سرب و گوگرد است و از آن برای ایجاد سایهروشن و جلوه بیشتر نقوش حکاکیشده بر روی سطح فلزات استفاده میشود. به بیان دیگر سیاهقلم یا اسود سرب، با اعمال حرارت بر روی قسمتهای کندهکاری یا حکاکیشده سطح فلز پایه تثبیت میشود و بهصورت طراحی سیاهرنگی بر سطح براق فلز پایه نمایان میشود. هنر ترصیع در کشورهای ایران و هند بهترتیب به شیوههای سیاهقلم و بیدریآرت رایج است. در هر دو شیوه، محصولات ترکیب رنگی تیره و روشن یعنی سیاه و سفید دارند. آثار هنر بیدری زمینه سیاه براق و نقوش تزئینی بهرنگ نقرهای و یا نقرهای و طلایی دارند و در آثار سیاهقلم ارامنه تبریز نیز نقوش سیاهرنگ و زمینه نقرهای است و از هر دو نوع نقش سیاه ــ زمینه روشن و نقش روشن ــ زمینه سیاه در آثار صابئین مندایی هم دیده میشود. اهمیت این موضوع ضرورت انجام پژوهش را ایجاد کرده و هدف پژوهش شناسایی ویژگیهای ساخت و اجرای شیوههای هنری سیاهقلم ایران و بیدری هندوستان و نیز شناخت وجوه اشتراک و افتراق اسلوبها است و پرسشها عبارتند از: 1- شیوههای فلزکاری سیاهقلم ایران و بیدری هندوستان دارای چه ویژگیهای فنی و اجرایی هستند؟ 2- دو شیوه هنری چه وجوه اشتراک و افتراقی باهم دارند؟ در این راستا تحلیل اطلاعات کتابخانهای، اسنادی و میدانی با رویکرد توصیفی ـ تحلیلی ـ تطبیقی نشان میدهد در هنر بیدری زمینه سیاه حاصل فرآیند اکسیداسیون است و رنگ سیاهقلم حاصل تثبیت آلیاژ فلزی از سولفیدهای نقرهای است که با اعمال حرارت ایجاد میشود و به طور کلی در هر دو روش رنگ سیاه تولید میشود. https://ira.guilan.ac.ir/article_8879_19ec5b4aa3ce79bc0703a9aa3acf7e90.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122The Sublime in Anish Kapoor's Mirror Installations: Infinite Reflection and Audience Interactionتحلیل والایی در چیدمانهای آینهای آنیش کاپور: بازتاب بیکرانی و تعامل مخاطب6994892210.22124/ira.2025.30911.1063FAراضیهمختاری دهکردیاستادیار گروه ارتباط تصویری، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایرانJournal Article20250608<strong>Simple Abstract: </strong>The concept of the sublime, rooted in the philosophical reflections of Edmund Burke and Immanuel Kant, denotes a meta-cognitive experience that evokes awe and reverence through encounters with grandeur that surpasses everyday comprehension. In contemporary art, innovative materials like mirrors have redefined this concept. Anish Kapoor’s mirror installations, with their infinite reflections and subtle temporal delays, create tangible experiences of boundlessness and existential depth. However, prior studies have largely focused on theoretical or survey-based analyses, overlooking direct observation of audience interaction with these mirror spaces. This study aims to: 1) elucidate how Kapoor’s mirror installations redefine traditional notions of the sublime through boundless reflections, and 2) identify indicators of enriched sublime experiences based on observed audience behaviors. Employing a qualitative, descriptive-analytical approach, data were gathered from visual documentation (photographs and videos from exhibitions at venues such as the Guggenheim Museum and Millennium Park, Chicago), as well as critical texts. Data were analyzed via qualitative content analysis (open and axial coding). Findings reveal that these installations reconstruct the sublime as an existential experience by blurring the boundaries between reality and illusion, while active audience engagement—through reflective behaviors and curiosity—deepens this experience. This study bridges a research gap in analyzing audience interaction, highlighting the role of novel materials in contemporary aesthetics and inspiring interdisciplinary explorations in art and philosophy.<br /><strong>Theoretical Background: </strong>The sublime, a cornerstone of aesthetic philosophy, originates in the works of Longinus, Burke, and Kant, evolving into a central theme in contemporary art discourse. Kant (1764/2003) distinguishes between the mathematical sublime, tied to incomprehensible scale, and the dynamical sublime, arising from encounters with nature’s overwhelming power. Both evoke a sense of human limitation juxtaposed with rational transcendence (Kant, 1764/2003, p. 156). Postmodern thinkers like Lyotard and Adorno reframe the sublime as an encounter with the ineffable, linked to epistemological crises and subjectivity (Shinkle, 2013). In contemporary art, the sublime transcends philosophical abstraction, becoming a lived experience. Barnett Newman’s (1948) essay “The Sublime is Now” posits artists as bearers of this experience, using minimalist forms to evoke transcendent presence (Newman, 1994, p. 137). Similarly, Robert Smithson’s Spiral Jetty and Richard Serra’s Matter of Time create visceral, spatial encounters with scale and power, redefining the sublime through physical immersion (Serra, 2001). Kapoor’s mirror installations extend this trajectory, using reflective surfaces to dissolve boundaries between self, other, and environment, aligning with Baudrillard’s notion of mirrors as tools for exploring simulated realities (Baudrillard, 1994). Unlike prior studies, which often adopt theoretical or sociological lenses (e.g., Pakzad, 2018; Zepke, 2011), this research uniquely focuses on direct audience interaction, offering a novel perspective on the sublime’s experiential dimensions in Kapoor’s work.<br /><strong>Objectives and Research Questions: </strong>This study pursues two primary objectives: first, to delineate the mechanisms by which Kapoor’s mirror installations redefine traditional concepts of the sublime through infinite reflections; second, to analyze observational evidence of audience interaction to identify factors enhancing the sublime experience. The research questions are:<br />How do Kapoor’s mirror installations, through boundless reflections, redefine traditional concepts of the sublime?<br />Based on observed audience behaviors and reactions, what indicators confirm the deepening and enrichment of the sublime experience?<br />These questions address Kapoor’s innovative use of mirrors and the active role of audiences in meaning-making, contributing to contemporary aesthetics and interdisciplinary art-philosophy studies.<br /><strong>Data Collection: </strong>The research adopts a qualitative, foundational approach with a descriptive-analytical framework. Data were sourced from: 1) visual documentation, including photographs and videos from official exhibition records at prominent venues such as the Guggenheim Museum, Tate Modern, and Millennium Park, Chicago, focusing on ten purposively selected mirror installations by Kapoor for their high reflectivity and interactive potential; and 2) critical texts, articles, and reports from reputable databases. Data collection tools included a structured observation checklist to record visual and conceptual attributes of the works and a note-taking form to extract insights from written sources. The purposive sampling of ten works ensured representation of diverse forms and meanings, capturing the essence of Kapoor’s mirror-based oeuvre.<br /><strong>Analysis and Discussion: </strong>Data were analyzed using qualitative content analysis, employing open and axial coding to extract themes related to the sublime, boundlessness, and audience interaction. The analysis reveals that Kapoor’s mirror installations, such as Cloud Gate and Sky Mirror, redefine the sublime by creating infinite reflections that blur spatial and temporal boundaries, evoking Kant’s mathematical sublime through perceived boundlessness and the dynamical sublime through awe-inspiring ambiguity (Kant, 1764/2003). For instance, Cloud Gate’s curved, reflective surface merges the viewer’s image with the sky and urban environment, fostering a surreal experience of infinite space (Hughes, 2010). Observational data highlight audience behaviors—such as prolonged pauses, exploratory movements, and verbal exchanges about shifting reflections—as indicators of a deepened sublime experience. These interactions, marked by curiosity and awe, transform viewers into active participants, aligning with Bishop’s (2005) concept of the audience as a co-creator of meaning. The installations’ reflective surfaces serve not only as visual tools but also as existential mediators, prompting introspection about identity and humanity’s place in the cosmos, resonating with Lacan’s (1977) theories of self-recognition. This dual engagement—individual and collective—enriches the sublime, making Kapoor’s work a pivotal contribution to contemporary aesthetics. The study fills a gap in prior research by directly analyzing audience interaction, offering insights into how material innovation shapes aesthetic experiences.مفهوم والایی، با ریشه در تأملات فلسفی ادموند برک و امانوئل کانت، تجربهای فراشناختی است که حس شگفتی و احترام را در مواجهه با عظمت فراتر از درک روزمره برمیانگیزد. در هنر معاصر، ابزارهای نوین مانند آینه، این مفهوم را بازتعریف کردهاند. چیدمانهای آینهای آنیش کاپور با بازتابهای بیکران و تحریف تصاویر، تجربهای عینی از بیکرانی و عمق هستی خلق میکنند، اما تحلیل تعامل مستقیم مخاطب با این آثار کمتر مورد توجه قرار گرفته است. این پژوهش با هدف تبیین سازوکارهای بازتعریف والایی و بررسی نقش تعامل مخاطب انجام شده است. سؤالات اصلی عبارتند از: 1) چگونه چیدمانهای آینهای کاپور مفاهیم سنتی والایی را بازتعریف میکنند؟ 2) چه شاخصهایی بر اساس رفتار و واکنشهای مخاطب، تعمیق تجربه والایی را نشان میدهند؟ روش تحقیق کیفی و با رویکرد توصیفی ـ تحلیلی است. دادهها از دو منبع اصلی شامل مستندات تصویری (عکسها و فیلمهای نمایشگاهها در موزههایی چون گوگنهایم و پارک هزاره شیکاگو) و منابع مکتوب معتبر جمعآوری شدند. ابزارهای گردآوری شامل فهرست مشاهده ساختاریافته و فرم یادداشتبرداری بود. دادهها با تحلیل محتوای کیفی (کدگذاری باز و محوری) تجزیهوتحلیل شدند. یافتهها نشان میدهد چیدمانهای آینهای با ایجاد بازتابهای نامحدود و محو کردن مرزهای واقعیت و خیال، والایی را بهصورت تجربهای وجودی بازسازی میکنند. رفتارهای تأملی، کنجکاوی در کشف زوایای بصری، و ابراز شگفتی مخاطبان، شاخصهای کلیدی تعمیق این تجربه هستند. این تعاملات فعال، حس حضور و معناپردازی را تقویت میکنند. این آثار با دعوت مخاطب به مشارکت چندحسی، تجربهای دوگانه از خودشناسی و پیوند با کیهان را رقم میزنند و جایگاه والایی را در زیباییشناسی معاصر تثبیت میکنند. این مطالعه خلأ تحلیل تعامل مخاطب را پر کرده و بر نقش مواد نوین در زیباییشناسی معاصر تأکید دارد، در حالیکه الهامبخش کاوشهای میانرشتهای در هنر و فلسفه است.https://ira.guilan.ac.ir/article_8922_9d048cd560a5ca26de4a1ce584b7412c.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Studying the Mythological Characteristics of Imam Ali
(AS) In the Illustrations of Khavaran-nama Based on Campbell's Heroic Journey Modelمطالعۀ ویژگیهای اسطورهای امام علی(ع) در نگارههای خاوراننامه بر اساس الگوی سفر قهرمانی کمبل95124909810.22124/ira.2025.31170.1067FAکیمیاحاتم زادهموسسه آموزش عالی آپادانا، شیراز، ایرانمهدیارجمند اینالودانشکده هنر و معماری، دانشگاه شیراز، شیراز، ایرانJournal Article20250714<strong>Introduction: </strong>The Khavaran-nama, composed by Ibn Hassam Khusfi Birjandi, is an epic poem centered around the life of Imam Ali (A.S.). Written in the style and structure of Ferdowsi’s <em>Shahnameh</em>, this literary work offers a unique opportunity for the convergence and coexistence of religious heroes and national mythological figures. The main point of intersection between these two texts lies in their mythological portrayal of two prominent figures: Imam Ali, the sacred figure of Shi'a Islam, and Rustam, the legendary and national hero of Iran. The author, writing in the 15th century (9th century AH), seeks to preserve national identity while simultaneously expressing his religious beliefs by replacing mythological and national characters with real historical figures from Islamic and Shi'a tradition. The illustrated version of <em>Khavaran-nama</em> serves as a treasure trove of heroic scenes that raise questions regarding the logic behind the selection of these particular visual moments. Previous studies in this field have mostly focused on aesthetic analysis or the influence of earlier artistic traditions. Given that Joseph Campbell’s theory of the Hero’s Journey has become a widely accepted framework for analyzing mythological character development, this study aims to offer a new narrative-visual analysis of <em>Khavaran-nama</em> through the lens of Campbell’s mythological structure—particularly his model of the Hero’s Journey. To understand how these elements are integrated, it is essential to examine the mythological character development—especially the stages of the hero's journey. The theoretical framework of this study includes two key approaches: First, Joseph Campbell’s theory of the monomyth, which outlines the universal pattern of the Hero’s Journey in three stages—departure, initiation, and return. This process involves the transformation of the hero through symbolic trials and encounters with the collective unconscious. Second, the study draws on narrative analysis of visual art in Islamic-Iranian illustration. According to this approach, painters are not merely illustrators of text but creative interpreters who reimagine the story through visual signs and symbols.<br /><strong>Objectives and Questions: </strong>This paper discusses the potential overlap between Campbell’s ideas and the visual scene selection in the illustrated manuscript of <em>Khavaran-nama</em>, based on the above-mentioned frameworks. This approach not only offers a novel interpretation of the work but also provides a foundation for comparative studies between Islamic-Iranian art and mythology. Since Campbell’s Hero’s Journey model is considered a valuable tool in analyzing mythic character development, and understanding the illustrator’s method of selecting pivotal moments is critical, an analysis of the <em>Khavaran-nama</em> miniatures in light of this theoretical alignment proves highly insightful. The objective of this research is to analyze the miniatures of <em>Khavaran-nama</em> as visual representations of the epic and explore their alignment with Campbell’s Hero’s Journey. Accordingly, the study seeks to answer two primary questions: 1. Is there a structural correspondence between the illustrations in <em>Khavaran-nama</em> and Campbell’s universal Hero’s Journey model? 2. If such alignment exists, how are Campbell’s concepts manifested in the depictions of Imam Ali (A.S.) within the illustrated scenes?<br /><strong>Methodology: </strong>The research methodology is a mixed approach, combining narrative content analysis, comparative alignment with Campbell’s stages, and semiotic examination of the miniatures. The statistical population comprises all 115 illustrations remaining in the original manuscript of <em>Khavaran-nama</em>, preserved at Golestan Palace. The sample analyzed consists of 75 miniatures in which Imam Ali (A.S.) is depicted as the central heroic figure. Each of these 75 illustrations is examined for its narrative content, its overlap with the stages of Campbell’s Hero’s Journey, and the symbolic elements present in the imagery.<br /><strong>Results: </strong>The findings are presented in tabular form, accompanied by selected images that serve as representative examples. The results of the study directly address the main research questions. According to the findings, all 75 miniatures depicting Imam Ali (A.S.) in the <em>Khavaran-nama</em> correspond to the "initiation" stage of Campbell’s Hero’s Journey. Two of these miniatures, in addition to representing initiation, also include elements pointing to the "departure" stage. Within the initiation stage, all 75 illustrations fall specifically under the "Road of Trials" sub-stage. However, some of these also exhibit features related to other sub-stages of initiation: one image contains elements of "Crossing the First Threshold," one reflects "Belly of the Whale," 14 show "Atonement with the Father," 14 include motifs of "The Ultimate Boon," and 66 portray aspects of "The Return with the Elixir." The study concludes that the illustrator(s) of <em>Khavaran-nama</em> deliberately chose scenes that primarily align with the "initiation" and "transformation" themes of Campbell’s Hero’s Journey model, emphasizing the spiritual and symbolic evolution of the hero.خاوراننامه حماسهای منظوم و تقلیدی از شاهنامه فردوسی، اثر ابنحسام خوسفی بیرجندی است. فرهاد نقاش شیرازی در قرن نهم هجری، برخی از صحنههای این حماسه را به تصویر کشیده است. داستان این حماسه مبتنیبر سفر قهرمانی شخصیت اصلی آن یعنی امام علی(ع) است. شباهت داستانها و تصاویر این کتاب با شاهنامۀ فردوسی، بیانگر تلفیق اسطورههای ملی ایرانیان با مهمترین شخصیت مقدس شیعیان است. بهمنظور فهم چگونگی این تلفیق، مطالعۀ شیوۀ شخصیتپردازی اسطورهای خصوصاً سفر قهرمانی اثر ضروری است. از آنجا که نظریۀ سفر قهرمان جوزف کمبل بهعنوان الگویی برای شخصیتپردازیهای اسطورهای شناخته میشود و همچنین آگاهی دربارۀ شیوۀ انتخاب تصاویر بهدست نگارگر و نمایش نقاط اوج داستان نیز از مباحث قابل طرح در این زمینه است، تحلیل نگارههای خاوراننامه براساس این الگو، راهگشا خواهد بود. هدف این پژوهش، تحلیل تجلی مراحل الگوی سفر قهرمانی جوزف کمبل در نگارههای خاوراننامه است. ازاینرو پرسش اصلی پژوهش عبارت است از: عناصر الگوی سفر قهرمانی جوزف کمبل چگونه در نگارههای امام علی(ع) در خاوراننامه نمود یافتهاند؟ روش تحقیق بهشیوۀ ترکیبی (تحلیل محتوای روایی، بررسی نگارهها بر اساس مراحل الگوی کمبل و تحلیل نشانهشناختی نگارهها) انجام شده است. بنابر یافتههای پژوهش، در برخی موارد عناصر نظریة کمبل و نگارههای خاوران نامه بر یکدیگر منطبق هستند و در مواردی نیز متفاوتاند. نتایج این پژوهش نشان میدهد که نگارگر یا نگارگران، صحنههایی از داستان را برگزیده و به تصویر کشیدهاند که بیشترین انطباق را با مراحل «تشرف» و «دگردیسی شخصیت» در الگوی سفر قهرمانی جوزف کمبل دارند.https://ira.guilan.ac.ir/article_9098_738f863eb3a0b12e26b6e0da71358f78.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122The impact of postmodernism on the construction of dominant behavioral patterns in Iranian contemporary artتأثیر پستمدرنیسم بر شکلگیری الگوهای رفتاریِ هنر معاصر ایران با نگاهی به کتاب «کنکاشی در هنر معاصر ایران»125144914810.22124/ira.2025.31393.1069FAمهدیقادرنژاد حمامیاناستادیار گروه پژوهش هنر و هنر اسلامی، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایرانعبداللهآقائیاستادیار گروه هنرهای تجسمی، دانشکده هنر و معماری، دانشگاه یزد، یزد، ایران.Journal Article20250813<strong>Introduction: </strong>"Contemporary art" has dominated the art world with new visual practices since the 1960s. In the meantime, "postmodernism" as a paradigm assumed the task of shaping contemporary artistic practice and its defining institutions. Postmodernism achieved this through legislative institutions and experts, defining and determining normative behaviors in the form of educational instruction, thus expanding its desired art world. The present study addresses this question: How has the structure of the art world and the thought of postmodernism, as a dominant paradigm, affected the construction of contemporary art and the spiritual system that governs it over the past few decades? To answer this question, the contemporary art world, its institutions and agents must be studied. The present study seeks to build a framework for understanding this issue by using Max Weber's "Sociology of Religion." There, Weber refers to the role of religious forces and the relationship between religious ideas and aspects of human behavior in the construction of society. The institution of the church and its priesthood are very close to the institutions of the contemporary art world and the special work of the critic-historian. To this end, we analyze in a case study the impact of the special work of the critic-historian (Hamid Kashmirshekan) on Iranian contemporary art.<br /><strong>Problem Statement: </strong>Since the early 1990s, new developments have occurred in modern Iranian art. In these years, some artists, influenced by the new atmosphere and imposed isolation, found an opportunity to reflect on the variety of art that they had been rapidly and excitedly involved in years before. This coincided with changes, albeit relative, in the socio-cultural atmosphere of this period. Outside Iran, since the mid-1990s, the cultural approach and macro-politics of Western art in dealing with non-Western art had changed. Issues of sexual, ethnic, linguistic identity, etc., underwent fundamental changes, and contemporary art, claiming plurality, freedom, and equal opportunity, transformed itself into the dominant model. These factors caused another era of art to begin in Iran in the early 2000s and the birth of Iranian contemporary art. In fact, "Iranian contemporary art" as part of the new realm of contemporary art should be considered under the claim of postmodern pluralism and the creation of a new geography of art. "Postmodernism" as a dominant paradigm assumed the task of dominantly configuring contemporary artistic practice, its defining institutions, and the concepts and patterns that governed it. This new art was based on reflection and criticism of identity, especially new and contemporary identity. Although this "identity" and its problems and how to deal with it were defined in a way that the dominant paradigm defined, in any case, this new paradigm also influenced the work of young artists over the next decade.<br /><strong>Background: </strong>The issue of the present research is the influence of agents and experts on the [contemporary] art world. Paul Crowther (2002), in his article “Against Curatorial Imperialism,” speaks of postmodernism and its rules as external factors that influence contemporary art. Crowther refers in particular to the special work of the curator. Pierre Bourdieu (1993), in his article “The Market for Symbolic Commodities,” studies the art world, addresses the issue of the art market and agents and experts in art, and draws some connections with the sociology of religion by Weber.<br />In the field of studying contemporary art institutions in Iran, Mehdi Qadernezhad (2018) in his doctoral dissertation “The Possibility of Autonomy of Contemporary Art: The Role of Postmodern Culture in the Formation of Contemporary Art Commodities” seeks to analyze how the dominant pattern of the era is constructed in contemporary art by comparing the two worlds of religion and art and its factors and agents. Hamid Kashmirshekan (2017) also deals in detail with contemporary Iranian art and how it began, expanded, and developed, and in doing so, he engages in a kind of theorizing of contemporary Iranian art. The present study, looking at all past research, specifically focuses on the role of the critic-historian in the development of contemporary Iranian art practices.<br /><strong>Methods: </strong>We take the theoretical framework and analytical tools of this article from Max Weber's sociology of religion.<br /><strong>Results: </strong>Postmodernism seeks to create a world in its own image. For this existence/emergence, it needs to gain legitimacy. The emergence of the commodity of identity and its use for commodity art is the solution to postmodernism and its spiritual apparatus to gain legitimacy in contemporary art. Here, identity is a tool for expanding the idea of the commodification of art, and of course, it is one of the existing tools-solutions. The goal of authority-power is always to construct normative and formatted behaviors and rules. Behaviors that are necessary for the construction of a specific and defined commodity. Identity and identity tools are one of the easiest ways to construct a commodity of contemporary art, and in the narratives proposed of contemporary Iranian art, and especially in Kashmirshekan, this issue is introduced and theorized in the form of identity discourses. Kashmirshekan’s project and the new art system thus seeks to construct the concept of “Iranian contemporary art” that has a specific framework and reflects certain rules-behavior, a behavior that leads to the construction of something like a “commodity.” For example, in contemporary art, concepts from power to difference, from writing to the will to know, from sexual identity to local-ethnicity, etc., that is, what is called the “theory-oriented” movement, are normalizing identity-oriented determinations that are presented in the form of a commodity and help the artist-subject in a simplified creative action and regulatory/normative visual behavior. Together, these help to form dominant and specific behavioral patterns in contemporary Iranian art. Patterns that can easily be seen in today’s art. Needless to say, the artists that Kashmirshekan refers to in this book are themselves the best students of this new order and correctly implement the signs and rules.جهان هنر از دهه 1960 میلادی کنشهای بصری جدیدی را بر جهان هنر غالب کرده است. در این میان، «پستمدرنیسم» همچون یک پارادایم، وظیفه پیکربندی کنش هنری معاصر و نهادهای واضع آنرا بر عهده گرفت. پستمدرنیسم این کار را توسط نهادهایی قانونگذار و متخصصان انجام داد و از این راه به تعریف رفتارهای هنجاری در قالب دستور تربیتی دست زد و بدینگونه به بسط جهان هنر مطلوب خود پرداخت. پژوهش حاضر به این پرسش میپردازد که: ساختار جهان هنر و اندیشه پستمدرنیسم به مثابه پارادایم مسلط، در طی چند دهه اخیر چگونه بر ساخت هنر معاصر و دستگاه روحانی حاکم بر آن اثر گذاشته است؟ برای پاسخ به این پرسش، باید جهان هنر، معاصر نهادها و کارگزاران آنرا مورد مطالعه قرار داد. پژوهش حاضر، در پیِ ساخت چارچوبی برای فهم این مسأله با استفاده از «جامعهشناسی دین» ماکس وبر است. آنجا وبر به نقش نیروهای مذهبی و رابطهی میان تصورات دینی و جنبههای سلوک انسانی در ساخت جامعه اشاره دارد. نهاد کلیسا و دستگاه کشیشی آن، نزدیکی بسیاری با نهادهای جهان هنر معاصر و کارویژۀ منتقد ـ مورخ دارد. بدینمنظور، در این مطالعۀ موردی، به تحلیل تأثیر کارویژه منتقد ـ مورخ (حمید کشمیرشکن) بر هنر معاصر ایران پرداخته میشود. براساس نتایج این پژوهش، امروزه هنر در معرض عوامل خارج از جهان هنر قرار داشته و آنها در قالب الگوهای بصری مشخص، هنر را به مثابه «کالا» تعریف میکنند. پژوهش حاضر به روش کیفی و با شیوه توصیفی ـ تحلیلی انجام شده و دادههای آن به روش اسنادی ـ کتابخانهای گردآوری شده است.https://ira.guilan.ac.ir/article_9148_5f02172046919ce327b4ff3ab6668508.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Modern Alienation as a Visual Meme: A Case Study of Nighthawks and Its Cinematic Adaptationsشبزندهداران بهمثابه مم بصری: تحلیل همتکاملی یک آیکون فرهنگی و اقتباسهای سینمایی آن145168919710.22124/ira.2025.31749.1073FAقدسیهپائینیدانشجوی دکتری حکمت هنرهای دینی، گروه حکمت هنر، دانشکده دین و هنر، دانشگاه ادیان و مذاهب، قم، ایرانJournal Article20250921<strong>Introduction: The Enigma of an Enduring Image: </strong>Edward Hopper's <em>Nighthawks</em> (1942) has transcended its status as a masterpiece of American art to become a transmedial cultural icon. The image has moved beyond museum walls, embedding itself so deeply in the collective memory of Western culture that it is continuously reproduced across diverse media, from cinema and literature to advertising and internet parodies. As Gail Levin (1995) notes, the work has become the definitive symbol of urban alienation in the modern era. However, the painting's exceptional fame and unparalleled staying power present a profound enigma for researchers: why has this particular image, among thousands of other representations of loneliness and alienation, achieved such an iconic status? What hidden mechanism within this static frame has enabled it to become an active, self-replicating element in the cultural ecosystem? While traditional art historical and sociological analyses have described the painting's social content (the "what"), they have failed to explain the cognitive and cultural mechanisms of its influence (the "how"). This research aims to bridge this analytical gap by addressing these fundamental questions.<br />Central Thesis and Theoretical Framework: A Cognitive-Cultural Co-evolutionary Model<br />This study argues that the enduring power of <em>Nighthawks</em> lies not in a single factor but in a process of "cognitive-cultural co-evolution." This model is based on the hypothesis that the painting's success is the product of a powerful synergy among three key elements: 1) an optimized visual Vector, 2) a profoundly resonant diagnostic Message, and 3) a fertile cultural Medium. To dissect this process, an interdisciplinary theoretical framework is employed, resting on three main pillars:<br /><br />Memetics: Drawing on Richard Dawkins's theory (Dawkins, 1976/2016), the research analyzes the painting as a "memeplex" (a complex of memes) that possesses highly efficient features for survival and replication in cultural competition<br />Cognitive Science and Art: Inspired by Andy Clark (2008), the artwork is treated as a "cognitive artifact"—an external tool that organizes our mental processes and aids our understanding of the world.<br />Intermedial Translation Theory: Using Bolter and Grusin's concept of "remediation" (2000), the process of translating the painting's "cognitive code" into cinema is analyzed not as a simple copy but as a creative reinvention.<br /><br /><strong>Part One: Anatomy of the Memetic Vector (The Cognitive Structure): </strong>The success of <em>Nighthawks</em> as a "mind virus" is first and foremost indebted to its engineered and optimized structure. This structure consists of three intertwined codes:<br /><br />The Graphic Code: The painting's visual simplicity and power ensure its survival. The human brain is optimized to process simple, high-contrast patterns (Arnheim, 1974). The composition is easily reducible to fundamental geometric shapes (a yellow triangle against two dark rectangles). This structural simplicity, combined with the stark contrast of light and shadow (Chiaroscuro), creates exceptional "cognitive stickiness" (Heath & Heath, 2007) and makes the image extraordinarily memorable.<br />The Narrative Code: If the graphic code imprints the image on the mind, the narrative code keeps it active for a long time. Hopper creates a masterpiece of "engineered ambiguity." By eliminating any specific narrative details, he creates a "narrative vacuum" that intensely activates the viewer's "Theory of Mind" (Frith & Frith, 2005). We unconsciously begin to construct stories for these archetypal, anonymous characters, transforming from passive observers into active collaborators in meaning-making. This "open-source" quality vastly increases the meme's potential for adaptation and mutation.<br />The Atmospheric Code: The painting's ultimate power lies in its heavy, intangible atmosphere. The absence of an entrance, the transparent yet impenetrable glass, and the visual silence of the scene create a sense of suspense, entrapment (claustrophobia), and a voyeuristic position for the viewer. This "unresolved heavy silence" generates a persistent emotional state in the viewer's mind that lingers long after seeing the image.<br /><br /><strong>Part Two: Analysis of the Diagnostic Message (The Cultural Content): </strong>This efficient visual vector carries a highly precise and multi-layered message that resonates deeply with the experiences and anxieties of modern society. <em>Nighthawks</em> is a diagnostic document of the multiple crises of modernity:<br /><br />The Urban Crisis: The painting is a powerful statement on the experience of alienation in the modern metropolis. It depicts a city that, in Georg Simmel's terms (1903/1950), forces the individual to adopt a "blasé attitude." The cold, inhuman architecture transforms the city from a "community" into an indifferent "landscape."<br />The Social Crisis: The work visualizes Émile Durkheim's concept of "anomie" (1897/1951)—a state where social norms are weakened and individuals, despite their physical proximity, exist in absolute psychological isolation. The painting accurately diagnoses the process of social "atomization."<br />The Existential Crisis: On an individual level, the painting portrays the existential angst of modern man. The brightly lit diner symbolizes the material comfort and security of modernity, yet this prosperity fails to fill the spiritual void and sense of meaninglessness felt by the characters.<br />The Communicative Crisis: The large, transparent window paradoxically foretells a society where everything is visible, yet nothing is truly understood. In Michel Foucault's terms (1977), this space is an inverted "Panopticon," where transparency becomes a tool for control and separation.<br /><br /><strong>Part Three: Translation and Evolution in the Cinematic Medium: </strong>The combination of an optimal vector and a resonant message is not sufficient to create an icon; the meme required a fertile medium for replication. American film noir of the 1940s and 1950s became this ideal environment due to an "ecological convergence." Noir filmmakers, grappling with the same post-war anxieties and pessimism, needed a visual language to express this dark mood, and <em>Nighthawks</em> provided it in a ready-made form.<br />This translation was a creative adaptation. Film noir transformed Hopper's static, existential isolation into a dynamic, criminal paranoia:<br /><br />Lighting: Hopper's stark Chiaroscuro was translated into low-key lighting with moving, threatening shadows.<br />Framing: The asymmetrical composition and diagonal lines were translated into Dutch angles and constricted frames to heighten the sense of fatalism and entrapment.<br />Space: Hopper's quiet, still diner became a site for deadly conspiracies and clandestine meetings.<br /><br />After being established in the classic noir period, this "Hopperian language" continued to mutate and evolve in contemporary cinema. Key case studies demonstrate this evolution:<br /><br /><em>Pennies from Heaven</em> (1981): By literally inserting its characters into the painting, the film transforms <em>Nighthawks</em> from an image into a reified, "shared cultural place" in the collective consciousness.<br /><em>Paris, Texas</em> (1984): Wim Wenders removes the Hopper code from the urban environment and transplants it to the vast American landscape, mutating "urban alienation" into "existential alienation in open space."<br /><em>Blade Runner</em> (1982): Ridley Scott projects this code into a dystopian future, evolving human alienation into "post-human" alienation in the age of technology.<br /><br /><strong>Conclusion: The Legacy of a Self-Replicating Diagnostic Code: </strong>Ultimately, this research demonstrates that the exceptional success of <em>Nighthawks</em> is the product of a complex co-evolution between its cognitive form (the vector), its cultural content (the message), and its media context (the medium). The painting became an icon because it was a perfect "cognitive tool": simple enough for transmission, deep enough for contemplation, and flexible enough for adaptation. The ultimate legacy of <em>Nighthawks</em> is not just the image itself, but its diagnostic code—a powerful visual template for representing modern alienation that has now become part of our cultural DNA. The artwork reminds us that the most powerful works of art are not those that merely show us the world, but those that become the tools with which we see and understand it.این پژوهش بهدنبال تبیین سازوکارهای شناختی و فرهنگی است که تابلوی شبزندهداران (۱۹۴۲) اثر ادوارد هوپر را از یک شاهکار هنری به یک آیکون فرهنگی فرارسانهای پایدار بدل کرده است. با وجود نفوذ عمیق این تصویر در حافظه جمعی، تحلیلهای سنتی هنر که عمدتاً بر محتوای اجتماعی و سبکشناختی متمرکز بودهاند، در توضیح مکانیسمهای شناختیِ بقا، تکثیر و جهش این تصویر در رسانههای مختلف ناتوان ماندهاند. این مقاله با هدف پر کردن این خلأ تحلیلی و پاسخ به این پرسش که چگونه یک تصویر ایستا به عنصری فعال و خودتکثیرشونده در اکوسیستم فرهنگی تبدیل میشود، ارائه شده است. با اتخاذ رویکردی میانرشتهای که نظریه ممتیک، علوم شناختی و مطالعات سینمایی را تلفیق میکند، این پژوهش به کالبدشکافی ساختار چندلایه تابلو میپردازد. در این راستا، اثر به سه کد اصلی گرافیکی، روایی و اتمسفریک تجزیه شده و فرآیند ترجمه خلاقانه این کدها به زبان سینمای نوار مورد تحلیل تطبیقی قرار میگیرد. یافتهها نشان میدهد که موفقیت استثنایی این اثر محصول یک فرآیند همتکاملی شناختی ـ فرهنگی است. این تابلو بهمثابه یک مِم بصری بهینهسازیشده عمل میکند که ساختار گرافیکی ساده و پرکنتراست آن چسبندگی شناختی بالایی ایجاد کرده و همزمان حامل یک کد تشخیصی دقیق از بحرانهای چندگانه مدرنیته، نظیر انزوای شهری، اتمیزهشدن اجتماعی و بیگانگی وجودی است. این کد تشخیصی در محیط حاصلخیز سینمای نوار نهتنها بازتولید، بلکه متحول شد و انزوای وجودی و ساکن هوپر را به یک گرامر بصری پویا برای بازنمایی پارانویای جنایی و اضطراب فعال بدل ساخت. در نهایت، این پژوهش استدلال میکند که شبزندهداران نه صرفاً یک تصویر بازنمایانگر منفعل، بلکه یک ابزار شناختی خودتکثیرشونده و فعال است. این اثر با تبدیلشدن به ابزاری برای فهم و بیان انزوا، درک جمعی ما از مدرنیته را صورتبندی کرده و به بخشی جداییناپذیر از ساختار فرهنگی ما بدل شده است.https://ira.guilan.ac.ir/article_9197_945ba9e8b63b584bd570c13c0ece54bf.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Revisiting the Concept of the Active Audience A Philosophical Analysis of the Role of Interpretation in the Process of Meaning Creationبازنگری در مفهوم مخاطب فعال تحلیل فلسفی نقش تأویل در فرآیند خلق معنا169196923410.22124/ira.2025.32030.1078FAعلیرضاعزیزیگروه پژوهش هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران.هاشمحسینیدانشیار گروه پژوهش هنر و هنر اسلامی، دانشگاه نیشابور.0000-0003-4084-8981Journal Article20251020<strong>Introduction: </strong>In the evolution of philosophical theories of art, the notion of the <em>active audience</em> has become a key concept for understanding how meaning is created through artistic interpretation. Traditional approaches often viewed the audience as a passive receiver, while modern aesthetic and hermeneutic theories emphasize its creative role in reconstructing meaning. This study seeks to explore how the audience, as a conscious and interpretive participant, contributes to the process of meaning-making in the interaction between the artwork and its recipient. The research also investigates how individual and cultural presuppositions shape the interpretive process and lead to the production of multi-layered meanings in art. By situating the discussion within the philosophical context of hermeneutics and reception theory, this paper aims to redefine the audience’s role from a passive observer to an active co-creator of meaning.<br /><strong>Statement of the Problem and Objectives: </strong>The central problem of this study is to determine how an active audience contributes to the recreation of meaning in the interpretation of artistic texts. The research focuses on the dynamic interaction between the artwork and the perceiver, highlighting the mutual influence of cultural, psychological, and linguistic factors in the formation of meaning. The objectives of this paper are:<br /><br />To analyze the philosophical foundations of audience activity in meaning-making;<br />To examine how interpretive presuppositions affect the perception of art; and<br />To conceptualize interpretation as a creative and ongoing process rather than a static act of understanding.<br /><br /><strong>Theoretical Framework: </strong>The theoretical foundation of this research is based on philosophical hermeneutics and reception aesthetics. Friedrich Schleiermacher’s early hermeneutics (1819) established interpretation as a methodological process rooted in understanding the author’s intent and linguistic structure. Later, Martin Heidegger (1927) transformed hermeneutics into an existential inquiry, proposing that interpretation is a fundamental mode of human existence. Building upon Heidegger, Hans-Georg Gadamer (1960) developed the concept of the <em>“fusion of horizons,”</em> asserting that meaning arises through the dialogue between the interpreter’s pre-understandings and the historical context of the text.<br />In parallel, Hans Robert Jauss (1982) and Wolfgang Iser (1978) emphasized the audience’s creative role in the formation of aesthetic experience through their <em>“horizon of expectations”</em> and <em>“implied reader”</em> theories. Roland Barthes (1977), in his essay <em>The Death of the Author</em>, further advanced this idea by declaring that the locus of meaning lies not in the author but in the reader’s interaction with the text. Together, these theories provide the philosophical backbone of this research, demonstrating how the artwork, language, and audience coexist in a continuous interpretive dialogue.<br /><strong>Methodology: </strong>This study employs a qualitative and analytical-descriptive methodology. The research is theoretical in nature and relies on the close examination of primary and secondary philosophical texts. Data have been collected through library research and the systematic review of critical writings on hermeneutics, reception theory, and aesthetics. The works of Gadamer, Jauss, Iser, and Barthes serve as the main conceptual framework for analyzing how the interpretive activity of the audience shapes meaning in artistic communication. The analysis aims to reveal the philosophical logic behind the dynamic relationship between audience, text, and language in the process of meaning construction.<br /><strong>Findings and Discussion: </strong>The findings indicate that interpretation is a creative and dialogical act, not a one-directional transmission of meaning. The audience, through its <em>horizon of expectations</em>, reconstructs meaning by integrating personal experiences, cultural values, and linguistic familiarity into its engagement with the artwork. The study demonstrates that:<br /><br />The dynamic and fluid nature of the artistic text enables the continuous re-creation of meaning across different contexts.<br />The pre-understandings and cultural background of the audience significantly shape the interpretive process, leading to multiple possible readings.<br />Language acts as both a medium and a co-creator of meaning, as its openness and ambiguity invite diverse interpretations.<br />This dialogical process between text and audience forms the essence of modern hermeneutics, transforming art into a living field of interpretive encounters. The results confirm that meaning does not preexist within the text but emerges through active participation and interpretive engagement.<br /><br /><strong>Conclusion and Contribution: </strong>The research concludes that the <em>active audience</em> is an indispensable factor in the ongoing creation of meaning in art. Meaning arises not from the text alone, nor solely from the interpreter’s consciousness, but from their interaction within a shared linguistic and cultural space. The study validates the hypothesis that the audience, through its interpretive activity, generates multi-layered meanings that evolve with each new encounter. The findings also affirm that cultural and experiential backgrounds play a decisive role in shaping interpretation, turning hermeneutics into an ever-renewing dialogue.<br />The main contribution of this study lies in redefining interpretation as a <strong>creative and collaborative process</strong> rather than a static understanding of the artwork. It also highlights the necessity of considering language not merely as a neutral vehicle but as a vital participant in the interpretive act. By emphasizing the reciprocity between text and audience, this research opens new perspectives for philosophical aesthetics and provides a conceptual framework for analyzing artistic meaning in contemporary contexts.با گسترش نظریههای فلسفی هنر، مفهوم «مخاطب فعال» به یکی از محورهای بنیادین در تحلیل فرایند خلق معنا تبدیل شده است. پژوهش حاضر با نگاهی فلسفی، نقش مخاطب را در تأویل متن هنری و چگونگی مشارکت او در بازآفرینی معنا مورد بررسی قرار میدهد. مسئله اصلی تحقیق، فهم چگونگی تأثیر پیشزمینههای ذهنی و فرهنگی مخاطب در فرایند تأویل و خلق معنا است. هدف این مطالعه، تبیین جایگاه مخاطب بهعنوان عاملی خلاق و مشارکتجو در تعامل با متن هنری و معرفی تأویل بهعنوان فرایندی پویا، باز و خلاقانه است. روش پژوهش کیفی و بر پایه تحلیل فلسفی ـ توصیفی است و چارچوب نظری آن بر مبانی هرمنوتیک و نظریه دریافت، با تأکید بر دیدگاههای گادامر و یاوس استوار است. یافتههای پژوهش نشان میدهد که مخاطب فعال با بهرهگیری از افق انتظارات و پیشزمینههای ذهنی و فرهنگی خود، معنا را در تعامل با متن هنری بازآفرینی میکند و این تعامل به تولید معانی چندلایه و متغیّر میانجامد. متن هنری نیز بهمثابه ساختاری پویا و گشوده، امکان شکلگیری تأویلهای متنوع را فراهم میآورد و زبان در این میان، بهعنوان بستر اصلی ارتباط میان متن و مخاطب، نقشی تعیینکننده در بازتولید معنا ایفا میکند. نوآوری پژوهش در تأکید بر رابطه دوسویه میان مخاطب و متن و معرفی تأویل بهعنوان ابزاری خلاقانه برای فهم هنر معاصر است. این مقاله درک تازهای از پیوند میان هنر، معنا و مخاطب ارائه میدهد و زمینهای برای بازاندیشی در نظریههای فلسفه هنر فراهم میسازد.https://ira.guilan.ac.ir/article_9234_3e733c979e4eb5354a4e1f3687415c99.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Deconstructive Analysis of Two Tim Burton Films: Edward Scissorhands and The Nightmare Before Christmas Based on the Philosophy of Jacques Derridaتحلیل شالودهشکنانه دو فیلم تیم برتون؛ ادوارد دستقیچی و کابوس پیش از کریسمس بر مبنای اندیشه ژاک دریدا197222923510.22124/ira.2025.31863.1075FAابوالفضلدهقانی زادهدانشجوی کارشناسی ارشد فلسفه هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران.سهیلامنصوریاناستادیار گروه آموزشی فلسفه هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران.Journal Article20251003<strong>Background: </strong>Cinema has consistently provided a fertile ground for philosophical exploration, where visual images, narrative structures, and symbolic forms become vehicles for the revelation of deeper theoretical discourses. Unlike written philosophy, which often relies on conceptual rigor and systematic argumentation, cinema engages with audiences through a complex interplay of sound, image, and affect. This makes it particularly suited for staging the collapse of meaning, the ambiguity of symbols, and the play of interpretation. Among contemporary filmmakers, Tim Burton stands out as an artist whose distinctive visual universe—dominated by Gothic motifs, eccentric characters, and surreal narrative frameworks—resonates strongly with philosophical and cultural debates. His films resist conventional realism and instead offer fantastical narratives where reality is consistently destabilized and hybridized. Burton’s cinema has been widely appreciated for its popular appeal, yet it also contains significant philosophical depth. The interplay of light and darkness, innocence and monstrosity, fantasy and critique in his films makes them appropriate texts for philosophical inquiry. Of particular interest is how Burton challenges culturally embedded binaries. In doing so, his work aligns remarkably with the concerns of poststructuralist philosophy, especially Jacques Derrida’s deconstruction. Derrida’s intellectual project sought to unravel the stability of metaphysical oppositions—presence/absence, life/death, good/evil—showing how these categories are never pure but always already contaminated by what they exclude. This theoretical framework provides a productive lens through which to interpret Burton’s oeuvre.<br /><strong>Objectives: </strong>The primary objective of this research is to apply Derridean deconstruction to the analysis of Burton’s films, focusing specifically on Edward Scissorhands (1990) and The Nightmare Before Christmas (1993). The study aims to show that Burton’s cinema undermines the binary oppositions that structure cultural discourse, thereby destabilizing notions of identity, morality, and aesthetics. By foregrounding ambiguity, contradiction, and hybridity, Burton opens cinematic space for new modes of meaning-making that correspond to Derrida’s notion of différance—the endless deferral and displacement of meaning. Additionally, the study seeks to demonstrate the cultural relevance of Burton’s deconstructive aesthetics. In an era marked by identity crises, shifting moral frameworks, and the collapse of traditional cultural categories, Burton’s films mirror the postmodern condition. His characters, stories, and visual environments provide allegories for contemporary anxieties about belonging, otherness, and the instability of truth. Thus, beyond the theoretical exercise, the study intends to situate Burton’s cinema within the broader cultural transformations of late modernity.<br /><strong>Methodology: </strong>This research adopts a qualitative, interpretive approach grounded in philosophical hermeneutics and film analysis. Edward Scissorhands and The Nightmare Before Christmas were selected as case studies. The analysis relies primarily on Derrida’s concepts in Of Grammatology (translation by Abdolkarim Rashidian, 2024), complemented by Noël Carroll’s Philosophy of Art (translated by Fouad Rouhani, 2015) and Paul Shalman’s Philosophy and Cinema (translated by Khashayar Dihimi, 2017) to strengthen the theoretical foundation. Additionally, interdisciplinary perspectives from Cinema as Philosophy (Bordwell & Carroll, translated by Mehdi Shahba, 2019) are referenced to bridge philosophical theory and cinematic text. This combination of sources enables an in-depth analysis of Burton’s films both aesthetically and philosophically. The theoretical framework relies heavily on Derrida’s writings, particularly Of Grammatology (translated by Abdolkarim Rashidian, 2024), as well as secondary sources in philosophy of art and cinema. Noël Carroll’s Philosophy of Art (translated by Fouad Rouhani, 2015) provides the aesthetic grounding necessary to bridge philosophical concepts with cinematic forms. Paul Shalman’s Philosophy and Cinema (translated by Khashayar Dihimi, 2017) offers insight into the philosophical reading of film narratives. Finally, Cinema as Philosophy (Bordwell & Carroll, translated by Mehdi Shahba, 2019) helps integrate interdisciplinary approaches, demonstrating how cinema itself can function as a mode of philosophical discourse. Analytical tools include close reading of visual motifs, character construction, narrative structures, and thematic oppositions within the films. These are interpreted through Derrida’s key concepts—différance, undecidability, and deconstruction—to reveal the underlying philosophical dynamics.<br /><strong>Findings:</strong><br /><br />Inversion of Binaries: In Edward Scissorhands, Edward embodies a paradoxical condition—innocence coupled with destructive potential. His scissor hands, both creative and violent, reflect Derrida’s notion of contamination within binaries. He is both self and other, accepted and rejected, human and non-human. Similarly, in The Nightmare Before Christmas, Jack Skellington destabilizes the boundary between sacred (Christmas) and profane (Halloween). The narrative demonstrates that joy is infused with fear, and celebration with darkness.<br />Genre Hybridity: Burton deliberately resists fixed generic categories. Edward Scissorhands combines romance, fantasy, Gothic horror, and social satire, while The Nightmare Before Christmas merges the musical with stop-motion animation and dark comedy. This fluidity resonates with deconstruction’s rejection of rigid boundaries, highlighting the openness of meaning and the instability of categories.<br />Instability of Meaning: Both films generate ambiguity rather than closure. Characters embody indecidability, refusing simple classification. Edward cannot be neatly categorized as hero or monster, while Jack is neither villain nor savior. Their identities remain suspended, reflecting Derrida’s claim that meaning is always deferred, never fully present.<br />Cultural Reflection: Burton’s cinema mirrors contemporary cultural conditions marked by pluralism, hybridity, and crisis of identity. The collapse of fixed categories in his films reflects broader social realities where individuals navigate shifting values and fragmented cultural landscapes. His films, therefore, are not merely aesthetic artifacts but cultural allegories of late modern uncertainty.<br /><br /><strong>Conclusion: </strong>Through Derridean deconstruction, Burton’s films emerge not simply as narratives of fantasy but as enactments of the instability of meaning. Characters and stories embody différance, highlighting the perpetual play of interpretation. By inverting binaries, blending genres, and foregrounding ambiguity, Burton’s cinema destabilizes the very structures through which audiences seek coherence. This analysis underscores that popular visual media, far from being philosophically trivial, can engage profoundly with theoretical discourses. Burton’s films illustrate that cinema functions not merely as representation but as a performative site of meaning’s collapse and reconstruction. His work resonates with poststructuralist critiques of metaphysics, challenging audiences to embrace undecidability and discover beauty within monstrosity. Ultimately, the study concludes that Burton’s cinema contributes to philosophical inquiry by dramatizing the instability of cultural symbols and the perpetual reconfiguration of meaning. In a world where traditional categories of identity and culture collapse, Burton’s aesthetic of hybridity invites viewers to live with ambiguity, to recognize the impossibility of final meaning, and to appreciate the poetic richness of undecidability.مقالۀ حاضر با رویکرد شالودهشکنی ژاک دریدا به تحلیل تطبیقی دو فیلم ادوارد دستقیچی (۱۹۹۰) و کابوس پیش از کریسمس (۱۹۹۳) اثر تیم برتون میپردازد. هدف پژوهش، آشکار ساختن سازوکارهای فروپاشی تقابلهای دوتایی و مرکززدایی از معنا در ساختار روایی و سبک بصری این آثار است. پرسش اصلی آن است که شالودهشکنی چگونه در سطح تصویر، روایت و شخصیتپردازی در سینمای برتون تحقق مییابد. بدینمنظور، مفاهیم بنیادین اندیشۀ دریدا ــ از جمله تفاوت، تعلیق معنا، مرکززدایی و ناپایداری دالها ــ بهعنوان چارچوب نظری مورد استفاده قرار گرفتهاند و روش پژوهش بر تحلیل گفتمان تصویری و نشانهشناسی سینمایی استوار است. یافتههای پژوهش نشان میدهد که برتون با ایجاد گسست در منطق تقابلهای کلاسیک مانند زیبایی/زشتی، زندگی/مرگ، و نظم/آشوب، ساختار نشانهای سینما را به چالشی فلسفی بدل میسازد. در ادوارد دستقیچی، پیکرۀ هیبریدی قهرمان، نمود عینی مفهوم تفاوت است که همزمان شباهت و گسست را در خود دارد. این شخصیت از طریق ناتوانی در پیوند با جهان انسانی، مرکز معنای «انسانیت» را متزلزل میکند. در کابوس پیش از کریسمس نیز برتون با ادغام دو نظام نمادین متضاد، مرزهای فرهنگی و ژانری را از بین میبرد و «بازی بیپایان معنا» را به تصویر میکشد. تحلیل میزانسنها و رنگپردازیهای متضاد نشان میدهد که سبک بصری برتون نه تزئینی، بلکه در خدمت مرکززدایی از روایت است. نتیجهگیری پژوهش حاکی از آن است که در سینمای برتون، شالودهشکنی نهتنها در سطح مفهومی بلکه در ساحت تصویری و زیباییشناختی نیز جاری است؛ بهگونهای که فیلم به خودِ فرایند تعلیق معنا بدل میشود. این مقاله با پیوند دادن فلسفۀ دریدا به نشانهشناسی سینما، نشان میدهد که برتون از طریق تصویر، امکان تجربۀ بصریِ شالودهشکنی را فراهم میسازد و بدینسان، معنا را در وضعیت بیقرار و سیال نگه میدارد.https://ira.guilan.ac.ir/article_9235_983e67ffd374f30ae9dbe05dfe1939d6.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251211Reading Cinematic Elements in Iranian Miniaturesخوانش عناصر فیلمیک در نگارههای ایرانی223248927510.22124/ira.2025.31917.1076FAپیامزین العابدینیاستادیار دانشگاه تهران، دپارتمان هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.Journal Article20251008Persian miniature painting is a distinctive and highly refined form of art, marked by unique aesthetic qualities that have drawn the attention of audiences and scholars for centuries. In Iran, miniature painting enjoys an ancient and rich heritage, its origins deeply rooted in the region's cultural and historical traditions. Throughout different historical periods, this art form has undergone numerous changes, developments, and fluctuations, shaped by social, political, and artistic contexts. Its pinnacle is widely recognized to have occurred during the Safavid era, when the artistic sophistication, expressive power, and thematic diversity of miniatures reached an unprecedented level. It would still take many years before the art of cinema could celebrate a two-hundred-year legacy, for cinema is comparatively young when placed alongside the six classical arts that preceded it, including painting. Cinema, in its relatively short existence, has drawn significant inspiration from these earlier art forms. It has absorbed their principles, distilled their stylistic and conceptual essence, and transformed them within its own framework, emerging as an independent medium. Among these influences, painting has left an unmistakable mark on the aesthetic vocabulary of cinema, granting it a unique visual identity. In the contemporary era, this mutual influence has even reversed in certain ways, with artistic practices in painting showing responses to cinematic language and imagery.From its earliest days, cinema attracted the attention of critics, theorists, and artists, becoming a subject of rigorous scholarly examination. Researchers have extensively investigated how the various fine arts, including painting, have influenced cinema’s development. Yet, one less explored—indeed, rarely addressed—avenue of research involves identifying cinematic-specific elements that are traditionally regarded as exclusive to film, and then tracing them back to see if they manifest in earlier, pre-cinematic art forms. In other words, while much has been written about what cinema borrowed from painting, investigations into the reverse scenario—finding inherently cinematic traits in ancient visual traditions—are sparse. This is the gap that the present study seeks to address. Cinema captivates its audience by virtue of its narrative construction, its ability to generate motion and avoid static presentation, its arrangement and framing of characters within the shot, and its unique capacity to transform any point in time into the experiential “present.” Through editing, mise-en-scène, and visual composition, cinema enables viewers to feel that the past is unfolding right before their eyes, in real time. Such qualities exert a profound emotional and cognitive influence on the viewer’s perception of story and space. Understanding how different art forms influence and reshape one another, and recognizing the transformations they undergo within these interactions, is of great importance — both for creators seeking inspiration and for audiences striving to engage more deeply with the works they encounter. Persian miniature painting, drawing from the vast reservoir of Iranian culture, literature, and artistry, stands as one of these time-honored traditions. It has flourished for centuries, attracting not only Iranian art lovers but also admirers from the global community. Miniatures of various historical periods — and particularly those of the Safavid dynasty — are prized for their extraordinary craftsmanship, narrative sophistication, and symbolic richness. The narrative strategies of miniature painting, its arrangement of figures and objects within the frame, and its layered compositions often produce scenes that have a striking affinity to cinematic storytelling. The visual spaces they create seem dynamic, inviting the viewer’s gaze to move from one element to the next, thereby implying the passage of time and suggesting events beyond what is explicitly shown. These “motion-infused” compositions, though rendered in a static medium, evoke the kind of filmic atmosphere that we typically associate with moving images. Such works make evident that Persian miniature painting not only predates cinema but also exhibits qualities remarkably similar to those later developed in film. It is important to note that the chronology of these two art forms places miniature painting far ahead in historical terms. Cinema was born only after centuries of miniature painters had perfected their craft, built an intricate visual language, and developed sophisticated techniques of storytelling through still imagery. This temporal relationship invites a compelling question: how did certain elements we now categorize as “cinematic” exist long before the medium itself was invented? And what does this reveal about the universality of visual narrative principles? The present research embraces an interdisciplinary objective. Its principal aim is the examination and identification of cinematic elements embedded within Iranian miniature painting. By crossing disciplinary boundaries between art history, film theory, and visual culture studies, the study hopes to shed light on the shared language of these two seemingly different media. The methodology adopted here is qualitative, built upon a descriptive-analytical approach. Data was gathered from extensive library-based resources, as well as archival materials in both audio and visual formats. Employing purposive sampling, the research selected a range of exemplary Persian miniatures, focusing on works that are especially rich in narrative and compositional complexity. These pieces were subjected to detailed scrutiny, with each visual and narrative element analyzed for correspondence with cinematic principles. The findings indicate that cinema and Persian miniature painting share numerous defining characteristics. Both engage in visual storytelling that can be comprehended without the aid of textual narration, relying on the arrangement of figures, the interplay of gestures, and spatial relationships to move the narrative forward. Scene construction in both arts shows attention to thematic coherence, with spatial organization often mirroring emotional and symbolic content. Multi-layered compositions are another shared hallmark; they lend depth and dimension to the imagery, encouraging the viewer to interpret meaning across foreground, middle ground, and background. Equally prominent is the use of symbolic colors — hues carefully chosen not only for aesthetic appeal but to convey specific thematic or cultural meanings. In both cinema and miniature painting, color serves as a crucial narrative signifier, guiding mood, atmosphere, and audience interpretation. Furthermore, an acute attention to fine details enhances the overall integrity of the work, reinforcing its identity and narrative clarity.نگارگری نوعی نقاشی منحصر با ویژگیهای بارز توجه است که در ایرانزمین از سابقۀ طولانی برخوردار است. این نوع نقاشی در دورههای گوناگون با تحولات و فراز و نشیبهای مختلفی مواجه بوده که اوج آن در دوره صفوی است. سینما بهعنوان هنر هفتم در روند پیشرفت و تکاملش از هنرهای دیگر از جمله نقاشی تأثیر گرفته است. تأثیرات نقاشی، زیباییشناسی منحصربهفردی را در سینما بهوجود آورده است که در عصر حاضر بازتاب عکسالعمل آن در هنرهای دیگر و از جمله نقاشی پدیدار بوده است. بدیهیاست که نگارگری ایرانی سابقهای طولانی دارد و سینما پس از گذشت سالها از عملکرد و تاریخ این هنر متولد شده است. پژوهش حاضر با هدفی بنیادین در تلاش است بحثی بینارشتهای را مطرح سازد و مسئله اصلی تحقیق واکاوی و ریشهیابی عناصر فیلمیک در نگارگری ایرانی است. روش تحقیق کیفی با رویکردی توصیفی ـ تحلیلی و بر اساس جمع آوری اطلاعات از منابع کتابخانهای و بایگانیهای صوتی و تصویری است. بدینسان بر مبنای انتخاب هدفمند از موارد مطلوب نگارههای ایرانی گزینش شده و مورد مداقه و تحلیل قرار گرفته است. یافتههای پژوهش نشان میدهد که میان سینما و نگارههای ایرانی، شاخصههای مشابه متعددی وجود دارد؛ از جمله روایت بصری که بدون استفاده از متن مستقیم، مخاطب را در جریان داستان قرار میدهد، فضاسازی معنایی متناسب با مضمون، ترکیببندی چندسطحی و رنگهای نمادینی که حامل بار معنایی ویژهاند و به تثبیت هویت اثر یاری میرساند. نتیجه حاصله نشان از آن دارد که سینما با ویژگیهای فرمال و روایی خود فضایی پویا و حس «زمان حال» ایجاد میکند. نگارههای صفوی نیز پیش از پیدایش سینما با ترکیببندی و جزئیات، حرکت و پویایی را القا کردهاند. هر دو رسانه با بهرهگیری از میزانسن، نورپردازی، زاویه دید و روابط فضایی چندبعدی، فضایی فراتر از یک قاب میسازند که امکان روایت گذشته و آینده را فراهم میکنند.https://ira.guilan.ac.ir/article_9275_6e4d0252ee1cdccb8bd2ec3ce6ebcfbf.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251122Investigating the Characteristics of Postmodern Music by Analyzing the Piece Canon in Fourبررسی ویژگیهای موسیقی پستمدرن با تحلیل قطعۀ کانُن در چهار249268894910.22124/ira.2025.30942.1064FAمنصورحبیب دوستعضو هیأت علمی گروه موسیقی، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایرانJournal Article20250611<strong>Introduction: </strong>The word modern, which has been used more than ever since the beginning of the 20th century, conveys newness and belonging to the present and is in contrast to traditional thing that prides itself on its roots in the past. Modern man submits to the dictates of his reason and considers having a new method based on reason as a certain and definitive value. Accordingly, from the beginning of the 20th century to the present, or in other words, the contemporary period, a kind of value emerged in the making of artworks using new methods, and various movements claimed that they could bring the artistic form in a new way and even convey new meaning in the work. Gradually, a wide range of methods of artistic construction and criticism were formed, which sometimes completely contradicted each other, while all of them sought novelty. This issue became the cornerstone of postmodernism; that is, this school emerged from the idea of fragmentation and lack of coherence in the collection of various modern methods, sometimes rejecting them and sometimes praising them.<br /><strong>Research Questions:</strong> Postmodernism, in its search for answers to the fundamental questions of modernism, does not find them in abandoning traditional methods to achieve something new, but sees in change. In such a way, the past before the past may again become changed and new; that is, a combination of the originality of past music, which is sometimes heard as a quote from the works of the past, and an understanding of the thinking of a contemporary composer that carries the sounds of the present. Therefore, the analysis of postmodern music could be significant in understanding the methods of evolution in artistic expression. The issue becomes important when it comes to how an Iranian composer was able to create a connection between something new and old or modern and traditional methods, and what is his understanding of these concepts?<br /><strong>Research Hypothesis:</strong> Accordingly, the piece Canon in Four, the author's fourth work, has been selected for analysis until the answer is reached; the word canon has been used since the Middle Ages in introducing musical works and is quite old, and the phrase in Four, which is used instead of in D minor, for example could be seen in the title of modern musical works and is therefore quite new. This phrase, which could indicate the stage or sequential nature of the musical structure, is more than anything linked to the concepts of serialism and total serialism. The basic principle of serialism is that each tone in a series can only be heard once until all the other ones are heard in order. They could follow each other and form a melody line, or be presented simultaneously and form a harmony. Therefore, the tones in a series have the same value. Total serialism uses this method for other elements of music as well, and unlike serialism, which uses past forms of expression, suppresses them, which requires the modification and adjustment of a postmodern perspective.<br /><strong>Research Literature:</strong> Postmodernism in philosophy refers to a discourse that developed in the 1960s under post-structuralism; both schools are the result of the critical thinking of Jacques Derrida and Michel Foucault about rationalism, but postmodern music has a different history, and it is sometimes very difficult to explain its criteria and set a boundary to separate it from modern music. However, the combination of forms and methods of expression from different eras and genres in the past and present, mockery, and the creation of internal contradictions are the characteristics of postmodern music. This music finds meaning in the plurality of structures and the absence of a single method, and its aesthetics have an open understanding of any sound experience, while it is accompanied by people's attention to the types of music of the day. For example, Luciano Berio, who seems to be one of the first postmodern composers, in the third movement of the Sinfonia uses, in a manner similar to collage, a collection of different parts of the works of composers before him and creates a changed and new music from their combination. In fact, his work is a combination of different eras and genres in the past and present, organized in the form of his own compositional method.<br /><strong>Research Method:</strong> This article has an analytical basis and is in line with the structure of the perspective article in the form of artistic theorizing. Accordingly, while using a selection of critical literature related to modern and postmodern music as well as their interpretation, in the parts related to the introduction of the piece Canon in Four, the composer's views are used in order to conclude from the relevant critical literature. Of course, the author intends that the topics discussed in this article will be of interest to more specialized readers as well, and therefore the necessary specialized points are expressed as much as possible, and the discussion of the structure of the piece from a comprehensive perspective is considered, that is, from the perspective of how its elements are arranged and combined.<br /><strong>Research Results:</strong> By examining the existential and structural concepts of the piece Canon in Four, we could identify the characteristics of postmodern music; one of them is the approach to the past; in fact, something new is based on its origin in the past, and in this case, using the canon technique on the vertical axis of the piece could create such stability; however, the composer has also used the series of figures that could be similar to the bass ostinato in Baroque music or even Isorhythm in Medieval music. His view of the foundations of modernism in the piece is also noteworthy, and although he uses serialism and total serialism on the horizontal axis of the piece and also uses the unique technique of composer Webern in limiting structural elements and composer Berg in returning to the sound quality of tonal music, he is trying to make these so-called modern methods new and even considers them to be somewhat outdated; For example, he uses the serialization of larger elements such as figures, which is rare and even unprecedented in serialism, or in the dynamic series, he uses only an intense sound level, which is a behavior for psychological impact on the players and a completely new approach.<br />The composer also gives a special place to his aesthetic desire in the piece Canon in Four, and this is close to the serialism of Schoenberg's perspective. Accordingly, the piece is not only formed in a dry and cogwheeled way, but only the choice of silence between figures based on the composer's desire could transform the mechanism of organizing sound elements into a kind of algorithm for creating countless music, which shows the multiplicity of inferring form and meaning in postmodern music. Also, in line with Schoenberg's perspective that serialism is a method for composing like the past by reviving traditional forms, the overall structure of the piece Canon in Four is formed as ABA. So the postmodern composer, under the shadow of the concept of the global village, uses new and old techniques and methods with a self-referential attitude to compose music.مدرنیسم یا نوگرایی از ابتدای قرن بیستم شتاب فزایندهای در پدیدههای مختلف زندگی از جمله هنر و موسیقی یافته است. این مکتب گاهی آنچنان در برابر کهنگی میایستد که خود به نوعی اقتدارگرایی سرکوبگر یعنی آنچه که به سنت منسوب میکرد، تبدیل میشود. ازاینرو پستمدرنیسم با نگرشی معتدل به مفهوم نو و کهنه به عرصه آمد تا به جرح و تعدیل مدرنیسم بپردازد. شناخت ویژگیهای این مکتب میتواند موضوع قابلتوجهی در مطالعات بیان و نقد موسیقی باشد بهخصوص که بررسی این ویژگیها در آثار آهنگسازان معاصر از یک حوزۀ جغرافیایی خاص، زمینهای برای نو شدن موسیقی آن حوزه با تکیه بر اصالت سنت خواهد گشود. سؤال این است که چگونه یک نگرش پستمدرن در قطعهای از یک آهنگساز ایرانی میتواند مفهوم نو و کهنه را با هم درآمیزد و اثری که از این نگاه ساخته شده است، چه ویژگیهایی دارد؟ بر این اساس در مقالۀ حاضر ویژگیهای موسیقی پستمدرن در قالب تحلیل عناصر ساختاری و مفاهیم بهکاررفته در قطعۀ کانُن در چهار، اثر مؤلف مورد بررسی قرار میگیرد که اخیراً ساخته و بهصورت نت و صوت منتشر شده است. عنوان قطعه و تحلیل آن نشان میدهد که کانُن و سریالیسم دو تکنیک اساسی ساخت قطعه هستند که پس از معرفی و شناخت چگونگی آنها، به سریهای قطعه پرداخته خواهد شد و مشخص میشود که آهنگساز خواستِ زیباییشناسانۀ خود را در قالب کانُن با روش چرخدندهای سریالیسم در آمیخته و سازوکار سازماندهی عناصر صدایی را به نوعی الگوریتم جهت ساخت بیشمار موسیقی تبدیل کرده است که ویژگی چندگانه بودن استنباط فرم و معنا در موسیقی پستمدرن را نشان میدهد. این موسیقی در سایۀ مفهوم دهکدۀ جهانی از تکنیکها و روشهای نو و کهنه با نگرشی خودارجاع بهره میبرد.https://ira.guilan.ac.ir/article_8949_5e0a8a59437aa38ad371299b0423092b.pdfدانشگاه گیلانپژوهشهای میانرشتهای هنر3060-70433220251211The Role of Radiosalamat in Educating Colorectal Cancer Patients (During the COVID-19 Pandemic)نقش رادیو سلامت در آموزش به بیماران سرطان کولورکتال (در اپیدمی کووید ـ 19)269296927410.22124/ira.2025.31580.1071FAسمیهزارعیگروه پژوهش و تاریخ هنر دانشکده هنر، دانشگاه تربیت مدرس. تهران، ایرانشهراممنوچهریدانشیار بخش جراحی عمومی، دانشکده پزشکی، دانشگاه علوم پزشکی بقیةالله، تهران، ایرانJournal Article20250903<strong> </strong><strong>Introduction: </strong>In times of crises and social pandemics, various media outlets, including radio, play a vital role in raising awareness, providing education, and promoting public health. Modern medicine today emphasizes health and the well-being of healthy individuals rather than focusing solely on diseases or patients. Mass media serve as one of the most common communication platforms for reaching large audiences and striving to reform, improve, and transform health-oriented behaviors and lifestyles. Since radio is an accessible medium capable of delivering information to people in both rural and urban areas, it continues to be regarded as one of the essential and public media worldwide, even in the era of new technologies. Many countries have relied on radio stations to combat the spread of fake news and misinformation about COVID-19. In addition to fostering public trust, radio has contributed to disseminating scientific facts about epidemics and their consequences, while also providing education and information about the novel virus to its audiences. This study, focusing on the COVID-19 epidemic in Iran, examines the role of Radiosalamat in informing and educating audiences during the quarantine period.<br /><strong>Background: </strong>Numerous studies have been conducted on the role of mass and social media, the examination of fake and real news, media coverage, and media consumption patterns during the COVID-19 pandemic. Yasamin and colleagues (2023) investigated the performance of the Islamic Republic of Iran Broadcasting (IRIB) during the pandemic and emphasized the necessity of health-oriented education in national media as one of the key factors in addressing the COVID-19 crisis. Anvar, Soltanifar, and Aghazadeh (2022) also examined the responsibility of the media in managing the pandemic. Doroudlou and colleagues (2022), aiming to assess the overall role and responsibility of radio stations in combating fake news during COVID-19, researched media literacy and misinformation. Hernandez (2020) identified radio as a vital and indispensable medium for information dissemination and raising public awareness during the COVID-19 crisis. Furthermore, Michalis Kouyoumdjian (2014), employing Dependency Theory, explored the impact of radio on imagination in Turkey through the experiences of 101 radio listeners.<br /><strong>Research Objective: </strong>This study aims to explain the impact of Radiosalamat on patients’ lives during times of crises, including the COVID-19 pandemic, and to identify the fundamental needs of audiences regarding access to health-oriented information.<br /><strong>Research Question: </strong>What has been the role of Radiosalamat in educating colorectal cancer patients during the COVID-19 pandemic, and how has this target audience received and utilized the educational content distributed by the broadcaster?<br /><strong>Methodology: </strong>The present study employs a descriptive analytical method with an audience-centered approach. The study population consists of patients diagnosed with colorectal cancer, and the medium under investigation is Radiosalamat. Data were collected through observation, library resources, interviews with target patients, and the use of Radiosalamat programs related to COVID-19 during the years 2019 and 2020.<br /><strong>Target Audience: </strong>Colorectal cancer is the third most common cancer worldwide and the second leading cause of cancer-related death, primarily affecting individuals over the age of 50, with an average age of 64 at diagnosis. A family history of colorectal cancer or polyps increases the risk of developing the disease, and raising awareness among these groups can help reduce mortality. The use of modern surgical techniques, early detection, adequate treatment, and preventive health programs play a crucial role in improving patient survival and prognosis. Moreover, in critical situations such as the COVID-19 pandemic, these patients are more vulnerable, and education and information dissemination through mass media, particularly radio, can enhance awareness and reduce risk.<br /><strong>Result:</strong> During the COVID-19 pandemic, Radiosalamat, as a flexible and low-cost medium, played a significant role in educating and informing colorectal cancer patients. The widespread reduction of surgeries and disruptions in the treatment process highlighted the necessity of utilizing radio for prescriptive and interactive education. Radio programs were delivered in live, produced, simple, and mixed formats, and their effectiveness was enhanced through the participation of colorectal specialists and surgeons, the use of simple language, appropriate timing, and the creation of interactive spaces with listeners. Considering the characteristics of the target audience, such as higher average age, illiteracy or visual impairment, and limited access to new media educational content needed to be tailored to their social, economic, and lifestyle conditions. These programs not only improved awareness and reduced patients’ anxiety but also enabled direct interaction with specialists, serving as a model for managing similar crises in the future. Moreover, the COVID-19 experience demonstrated that selecting a specific audience and designing targeted programs can play a crucial role in enhancing health literacy and improving patients’ quality of life.<br /><strong>Conclusion: </strong>Ultimately, it is concluded that during pandemics, the audience should be regarded as a collective phenomenon. Moreover, the selection of the primary audience must be based on the significance of the media message as a trusted source, so that the necessary education can be effectively delivered to the target community, particularly to more vulnerable groups such as colorectal cancer patients.در بحرانها و همهگیریهای اجتماعی، رسانههای مختلف ازجمله رادیو، نقش حیاتی در آگاهیبخشی، آموزش و ارتقاء سلامت جامعه ایفا میکنند. این پژوهش با تمرکز بر اپیدمی کرونا در ایران، به بررسی نقش رادیو سلامت، در اطلاعرسانی و آموزش مخاطبان در دوران قرنطینه میپردازد. با توجه به اهمیت مخاطبشناسی در رسانههای جمعی، این تحقیق به دنبال پاسخ به این پرسش کلیدی است که نقش رادیو سلامت در آموزش به بیماران سرطان کولورکتال در اپیدمی کووید ـ ۱۹ چگونه بوده است؟ و چگونه مخاطب هدف، محتوای آموزشی توزیعشده توسط فرستنده را دریافت و مورداستفاده قرار داده است؟ هدف این مطالعه تبیین اثر رادیو سلامت بر زندگی بیماران در دورۀ بحران کرونا و مشخصکردن نیاز اساسی مخاطب در خصوص داشتن اطلاعات سلامتمحور است. این تحقیق با استفاده از آموزش توسط پزشکان و جراحان کولورکتال، به دنبال رفع نیازهای اطلاعاتی این گروه خاص از بیماران است. مخاطبان اصلی این پژوهش، بیماران سرطانهای کولورکتال هستند که عمدتاً در گروههای سنی بالاتر قرار دارند و احتمالاً از شنوندگان برنامههای رادیو سلامت نیز محسوب میشوند. این مطالعه با روش توصیفی ـ تحلیلی با رویکرد مخاطبشناسی است. گردآوری دادهها از طریق مشاهده، منابع کتابخانهای، گفتوگو با بیماران سرطان کولورکتال و بهرهگیری از مجموعه برنامههای رادیو سلامت در زمینۀ کرونا است و در نهایت به این نتیجه میرسد که در بیماریهای همهگیر، مخاطب باید بهعنوان یک پدیده جمعی در نظر گرفته شود. همچنین، انتخاب مخاطب اصلی باید با توجه به اهمیت پیام رسانه بهعنوان منبع اعتماد صورت گیرد تا آموزشهای لازم بهدرستی و با اثربخشی بالا به جامعه هدف، بهویژه گروههای آسیبپذیرتر مانند بیماران کولورکتال، منتقل شوند.https://ira.guilan.ac.ir/article_9274_4f0247e4cabd1533bdc991c14e79821a.pdf