دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 The issue of tolerance toward visual artists during the reign of Nāser al-Din Shāh Qājār: An Analysis Based on Constructivist Grounded Theory مسئله رواداری و هنرمندان تجسمی در عصر ناصری: تحلیلی بر پایه نظریه داده‌بنیاد سازه‌گرایانه و راینر فورست 9728 10.22124/ira.2026.33380.1088 FA فاطمه دلفانی بلوچ دانشجوی دکتری پژوهش هنر، دانشکده مطالعات عالی و علوم نظری، دانشگاه هنر، تهران، ایران سعید زاویه دانشیار، گروه پژوهش هنر، دانشکدۀ علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران 0000-0003-3023-7706 Journal Article 2026 04 27 Background: The question of tolerance toward visual artists constitutes a significant yet relatively understudied dimension of Iran’s social and cultural history. While the Qājār period has attracted considerable scholarly attention regarding political reforms, state-building processes, intellectual transformations, and artistic developments, the specific issue of how artists were treated, supported, restricted, or marginalized within society has received comparatively little examination. This gap is particularly important because visual artists occupied a unique position at the intersection of cultural production, political authority, and social values. Their experiences provide valuable insights into the broader relationship between power, legitimacy, and creativity in nineteenth-century Iran. The reign of Nāṣer al-Dīn Shāh Qājār (1848–1896) offers an especially fruitful context for exploring these issues. As one of the longest and most influential reigns in modern Iranian history, the Naserian period was characterized by political consolidation, administrative reform, and increasing encounters with Europe. The Qājār state sought to modernize selected aspects of governance, education, and culture while preserving traditional structures of authority. The establishment of Dar al-Fonun, the expansion of diplomatic relations with European powers, and the growing circulation of new technologies such as photography, lithography, and printing significantly transformed the cultural environment. At the same time, artistic production continued to operate within a framework shaped by court patronage, religious traditions, and established social hierarchies. These developments created both opportunities and challenges for visual artists. On the one hand, painters gained access to new techniques, materials, and institutional support. On the other hand, they remained dependent on political authorities and vulnerable to ideological, cultural, and religious constraints. Consequently, the experiences of artists cannot be understood through a simple narrative of either freedom or repression. Instead, they reveal a complex process in which tolerance and limitation coexisted and were constantly renegotiated. Examining this process contributes not only to the history of Iranian art but also to broader discussions concerning cultural authority, artistic agency, and the social conditions that enable or constrain creativity. Objectives: The primary objective of this study is to investigate the nature and dynamics of tolerance toward visual artists during the reign of Nāṣer al-Dīn Shāh Qājār. More specifically, the research seeks to identify the political, cultural, social, and institutional factors that facilitated or restricted artistic activity during this period. Rather than assuming tolerance to be a fixed or universally recognized principle, the study examines how it was socially constructed, negotiated, and contested within particular historical contexts. A further objective is to explore the experiences of prominent Qājār painters, including Mohammad Ghaffari (Kamāl al-Molk), Sanīʿ al-Molk, Musavvar al-Molk, and Abūtorāb Ghaffārī. These artists played important roles in the transformation of Iranian visual culture and provide valuable case studies through which broader patterns of patronage, acceptance, regulation, and artistic innovation can be analyzed. Their careers illuminate the opportunities created by state support as well as the limitations imposed by political expectations and cultural norms. The study also aims to contribute to theoretical discussions on tolerance by examining the concept within a historical and artistic setting. By focusing on the relationship between visual artists and structures of authority, the research seeks to demonstrate how tolerance functions not merely as an abstract moral ideal but as a historically situated social practice shaped by power relations and competing forms of legitimacy. Method: This research employs a qualitative historical methodology based on Constructivist Grounded Theory. Developed primarily through the work of Kathy Charmaz, this methodological approach emphasizes the interpretive character of knowledge and recognizes that meanings emerge through interaction between researchers and their sources. Rather than applying predetermined categories to historical evidence, Constructivist Grounded Theory allows conceptual categories to emerge inductively from the data itself. The study draws upon a diverse body of historical materials. These include royal decrees, governmental documents, archival records, memoirs of statesmen and court officials, travel narratives written by both Iranian and European observers, biographical accounts of artists, and selected examples of visual artworks. The use of multiple sources allows for a more comprehensive understanding of the social status of artists, the operation of patronage networks, institutional structures, and prevailing attitudes toward artistic production. Data analysis was conducted through the three principal stages of grounded theory coding. During open coding, recurring themes and concepts associated with artistic support, recognition, restriction, patronage, education, and social perception were identified. Axial coding was subsequently used to establish relationships among these concepts and organize them into broader analytical categories. Finally, selective coding enabled the development of an overarching interpretive framework capable of explaining the patterns and processes emerging from the historical evidence. Throughout the analytical process, special attention was devoted to the interaction between cultural production and structures of power. The categories generated from the data were interpreted through the conceptual lens of tolerance, allowing the study to examine how acceptance and restriction operated simultaneously within the artistic sphere of the Naserian era. Conclusion: The findings indicate that tolerance toward visual artists during the reign of Nāṣer al-Dīn Shāh was neither universal nor institutionalized as a permanent social principle. Rather, it functioned as a conditional and context-dependent phenomenon shaped by political priorities, cultural values, and social circumstances. The evidence demonstrates that artists benefited from significant forms of support provided by the Qājār court. Royal patronage encouraged artistic production, promoted education, facilitated exposure to European artistic traditions, and created new opportunities for professional advancement. The establishment of educational institutions, the commissioning of official artworks, and the growing prestige of realist painting contributed substantially to the development of visual culture in nineteenth-century Iran. At the same time, these opportunities existed within a framework of regulation and dependency. Artistic production was often expected to serve political objectives, reinforce royal authority, or conform to accepted cultural standards. Religious sensitivities concerning visual representation also influenced the boundaries of artistic expression. As a result, artists remained dependent on court approval and vulnerable to shifts in political priorities. Support for artistic activity was therefore accompanied by mechanisms of supervision, control, and limitation. The study ultimately concludes that tolerance in the Naserian period should be understood as a fluid and negotiated process rather than a stable normative commitment. Visual artists operated within a complex environment in which patronage and restriction, encouragement and oversight, innovation and conformity were closely intertwined. Their experiences reveal that artistic creativity emerged not in the absence of power but through continuous engagement with structures of authority. By illuminating these dynamics, the research contributes to a deeper understanding of the relationship between art, politics, and cultural legitimacy in modern Iranian history. Furthermore, it offers a historically grounded perspective that enriches contemporary theoretical debates concerning tolerance, cultural production, and artistic agency within societies undergoing political and social transformation. مسئلۀ رواداری و نارواداری نسبت به هنرمندان تجسمی در دوران ناصرالدین‌شاه قاجار، یکی از موضوعات مهم در تاریخ اجتماعی و فرهنگی هنر ایران است. پرسش اصلی این پژوهش آن است که رواداری نسبت به هنرمندان تجسمی در عصر ناصری چه ویژگی‌هایی داشته و چه عوامل سیاسی، اجتماعی و فرهنگی در شکل‌گیری آن مؤثر بوده‌اند؟ هدف پژوهش، تبیین وضعیت رواداری و نارواداری در قبال نقاشان برجستۀ این دوره، از جمله کمال‌الملک، صنیع‌الملک، مصورالملک و ابوتراب غفاری، و تحلیل رابطۀ میان قدرت سیاسی و فعالیت هنری در بستر جامعۀ قاجاری است. این پژوهش با رویکردی کیفی و بر مبنای نظریۀ داده‌بنیاد سازه‌گرایانه انجام شده است. داده‌های پژوهش از طریق بررسی اسناد تاریخی، سفرنامه‌ها، خاطرات، منابع کتابخانه‌ای و تحلیل آثار هنری گردآوری شده و با بهره‌گیری از مراحل کدگذاری باز، محوری و انتخابی مورد تحلیل قرار گرفته‌اند. یافته‌های پژوهش نشان می‌دهد که رواداری در عصر ناصری ماهیتی دوگانه و متغیّر داشته است. از یک‌سو، حمایت دربار از نهادهایی چون دارالفنون، تأسیس کارگاه‌های نقاشی و سفارش آثار هنری، زمینه‌های رشد و شکوفایی هنرهای تجسمی و گسترش نقاشی واقع‌گرایانه را فراهم ساخت. از سوی دیگر، محدودیت‌های ناشی از ملاحظات سیاسی، حساسیت‌های مذهبی نسبت به تصویرگری و فشارهای اجتماعی، دامنه فعالیت هنرمندان را با چالش‌هایی مواجه می‌کرد. نتایج پژوهش بیانگر آن است که رواداری در این دوره نه یک اصل نهادینه، بلکه پدیده‌ای وابسته به ارادۀ شاه، مناسبات قدرت و شرایط اجتماعی بوده و درک این وضعیت می‌تواند به توسعۀ مباحث نظری رواداری در مطالعات تاریخ هنر ایران یاری رساند.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Between Collective Memory and Ritual Imagination: The Representation of Ashura in Self-Taught Art (A Case Study of Kazem Ezi from the Perspective of Gilbert Durand) میان حافظه جمعی و خیال آیینی: بازنمایی عاشورا در هنر خودآموخته (مطالعه موردی آثار کاظم ایزی با رویکرد ژیلبر دوران) 9727 10.22124/ira.2026.33658.1097 FA گیتا مصباح استادیار گروه نقاشی، دانشگاه هنر شیراز، شیراز، ایران Journal Article 2026 05 24 Introduction: Ashura has long held a central place in Iranian culture. Although commonly associated with mourning and religious remembrance, its meanings extend beyond ritual practice. For many communities, Ashura is closely linked to memory, visual culture, storytelling, and collective identity. Through ritual performance and artistic expression—especially in local and folk traditions—its meanings continue to be preserved across generations. A significant example of this continuity appears in the paintings of Kazem Ezi. Despite lacking formal artistic training, Ezi’s works demonstrate a deep visual understanding of Ashura rituals and symbolism. Rooted in local mourning traditions and lived ritual experience, his paintings do not simply depict ritual; they reinterpret and emotionally reactivate it. This study examines three Ashura-related paintings by Kazem Ezi through the theoretical framework of Gilbert Durand. It explores how imagination operates in these works and how their visual language engages with death, martyrdom, memory, temporality, and continuity. Background: Imagination plays a central role in shaping human experience. It informs memory, belief, emotion, and meaning. Gilbert Durand understands imagination not as fantasy, but as a symbolic structure through which human beings interpret the world through images. For Durand, images are active agents of meaning. They do not merely reflect reality; they organize symbolic experience. Through them, societies express death, loss, transcendence, and continuity. A central distinction in Durand’s theory is between the diurnal regime and the nocturnal regime of the imaginary. The diurnal regime is associated with opposition, separation, heroism, and confrontation. The nocturnal regime is linked to repetition, continuity, reconciliation, and transformation. Durand also identifies forms in which these structures overlap and generate synthetic structures. This framework is particularly useful for the study of Ashura rituals in Iran. Rituals such as ta'zieh, nakhl-gardani, and sang-zani involve movement, rhythm, symbolic objects, and performance. Through repetition, they preserve and reactivate collective memory. In this sense, painting becomes more than documentation; it transforms ritual into a symbolic visual language shaped by memory and imagination. Research Questions and Method: This study focuses on three Ashura ritual scenes painted by Kazem Ezi: “the nakhl-gardani procession”, “the encounter between Hurr and Abbas ibn Ali”, and “the sang-zani ceremony”. It addresses three questions: Which structures of imagination appear most prominently in these paintings? How are symbolic meanings articulated through visual composition? How have local Ashura rituals shaped the artist’s visual imagination? The study adopts a qualitative descriptive-analytical approach. The paintings are examined through visual analysis, with attention to composition, symbolism, repetition, spatial arrangement, and ritual elements. Durand’s theory provides the interpretive framework. Analysis and Findings: In the first painting, traces of the diurnal regime and the heroic structure remain visible; however, the dominant framework belongs to the nocturnal regime, especially the mystical and synthetic structures. The presence of Abbas ibn Ali beside the nakhl suggests that heroic imagination remains active, yet it is absorbed into ritual order and collective memory. Death appears not as pure tragedy, but as part of ritual continuity and collective remembrance. The nakhl functions not only as a ritual object but also as a mnemonic structure that transforms Ashura from a singular historical event into a collective and transhistorical experience. Signs of martyrdom coexist with symbols of continuity, suggesting that death is imagined not as an ending but as part of ongoing symbolic regeneration. Through nakhl-gardani, historical time is suspended, and Ashura becomes present in ritual time. The second painting is dominated by the diurnal regime, particularly the heroic structure. Imagination here operates through confrontation, separation, and heroization. The enlarged scale of the figures, vertical emphasis, and direct encounter between Abbas ibn Ali and Hurr place the image within the oppositional logic of the diurnal regime. Ashura remains represented as a historical and heroic event. The inscription naming Hurr ibn Yazid reinforces this historical framework. The image has not yet entered suspended ritual time or transhistorical memory. Although minor traces of the nocturnal regime appear, they remain secondary to the heroic structure. Death is therefore represented as a dramatic historical moment. The dominant philosophy of the image is heroic resistance to death. In the third painting, traces of the diurnal regime remain; yet the dominant system belongs to the synthetic structure and the nocturnal regime. Opposition no longer functions through confrontation; instead, it is integrated into a collective ritual order. The emphasis shifts from heroic individuality to collective rhythm and ceremonial participation. The repetitive movement of the sang-zani participants, the symmetry of the bodies, and the structured composition present mourning as a reproducible ritual form. Bodies appear not as individual figures but as parts of a collective whole. Individual identity dissolves into ritual participation. Death and loss are transformed into stable collective memory through repetition. At the same time, contemporary elements such as loudspeakers and microphones appear alongside traditional ritual forms, showing that ritual remains active in the present. These modern elements do not oppose tradition; rather, they sustain the continuity of ritual memory. This coexistence of tradition and contemporaneity is central to the painting’s synthetic structure. The most significant feature of this image is its cyclical understanding of time. Through the repeated performance of sang-zani, Ashura is continually brought into the present. Historical time becomes lived experience. Time is no longer linear but cyclical, ritualized, and renewed. Conclusion: The analysis of Kazem Ezi’s Ashura paintings through Gilbert Durand’s theory demonstrates that religious imagination in these works is dynamic and multilayered. It emerges through movement between the diurnal and nocturnal regimes. This movement begins with heroic confrontation and gradually develops toward ritual memory, collective participation, and cyclical ritual time. The findings show that the heroic structure progressively moves away from epic individuality and becomes absorbed into collective ritual order. Death is initially confronted through opposition and heroization but gradually becomes integrated into ritual repetition, memory, and continuity. Ashura is therefore transformed from a historical event into a living and continually reproduced experience. A major finding is the transformation of temporality within the paintings. Time shifts from historical temporality toward ritual and cyclical temporality. Ashura rituals do not simply represent the past; they reactivate it in the present. Through this process, mourning and martyrdom become part of cultural memory. The study also shows that ritual in Ezi’s paintings is not merely represented iconographically but also structures imagination. Repetition, bodily rhythm, ceremonial order, and recurring Ashura symbols organize the image. Finally, Ezi’s self-taught artistic practice plays a decisive role in shaping this visual imagination. His paintings emerge from lived experience, collective memory, and direct participation in Ashura rituals. Taken together, they reveal how religious imagination in Iranian self-taught art transforms historical death into ritual memory and continuity through repetition and participation. آیین‌های مذهبی در فرهنگ ایرانی فقط مناسک نیستند بلکه حافظه جمعی و تخیل نمادین در آن بازنمایی می‌شود. نقاشی خودآموخته ناب‌ترین نمود حافظه جمعی است. آثار عاشورایی هنرمند خودآموخته سبزواری، کربلایی کاظم ایزی، از نمونه‌های شاخص این بازنمایی تصویری‌اند که در آن تجربه‌زیسته، باور مذهبی، حافظه جمعی و تخیل درهم تنیده شده است. مسئله اصلی این پژوهش چگونگی بازنمایی ساختارهای تخیل در این آثار با تکیه بر نظریه ژیلبر دوران است. هدف پژوهش تحلیل سه اثر عاشورایی کاظم ایزی با موضوع نخل‌گردانی، آمدن حُر نزد حضرت عباس و سنگ‌زنان روز عاشورا، بر اساس نظریه ساختارهای تخیل ژیلبر دوران و تبیین نسبت آن‌ها با مفاهیمی چون مرگ، شهادت، زمان و جاودانگی است. پژوهش کیفی و با روش توصیفی ـ تحلیلی انجام شده است. گردآوری داده‌ها به شیوه اسنادی و آثار منتخب بر اساس ساختار نظام تخیل ژیلبر دوران، نمادها، ترکیب‌بندی، سازمان فضایی، روابط تصویری و نسبت عناصر آیینی با مفاهیم مرگ، زمان و حافظه جمعی تحلیل شده‌اند. هر سه اثر، در عین برخورداری از نظام نمادین مشترک عاشورایی، از ساختارهای متفاوت تخیلی بهره می‌برند. در تصویر نخل‌گردانی، ساختار شبانه و ترکیبی غالب است و مرگ در قالب حافظه آیینی و استمرار جمعی بازنمایی می‌شود. در تصویر آمدن حُر نزد حضرت عباس، ساختار روزانه و قهرمانی غالب و معنا از خلال تقابل، مواجهه و قهرمان‌سازی شکل می‌گیرد. ساختار ترکیبی تصویر سنگ‌زنان با ریتم جمعی، تکرار مناسک و هم‌نشینی عناصر سنتی و معاصر آشکار می‌شود. در آثار عاشورایی کاظم ایزی تخیل حاصل پیوند تجربه‌زیسته هنرمند با آیین‌های مذهبی و حافظه جمعی روستای ایزی است. آثار صرفاً بازنمایی یک واقعه تاریخی نیستند، بلکه عرصه ظهور تخیل آیینی‌اند؛ تخیلی که مرگ را به حافظه، شهادت را به تداوم فرهنگی و واقعه عاشورا را به تجربه‌ای جمعی، زنده و بازتولیدشونده در زمان اکنون تبدیل می‌کند.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Senmurv (Simorgh) or the Persian Griffin? A Reassessment of the Naming of the Famous Hybrid Animal Motif in Sassanid Visual Art سیمرغ یا گریفین ایرانی؟ بازنگری در نام‌گذاری نقشمایۀ جانور ترکیبی در هنرهای تجسمیِ دورۀ ساسانی 9851 10.22124/ira.2026.33754.1102 FA سارا سامانی کارشناسی‌ارشد پژوهش‌هنر، گروه هنر، دانشکدة هنر، معماری و شهرسازی، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران. ایلناز رهبر استادیار گروه هنر، دانشکدۀ هنر، معماری و شهرسازی، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران. طاهر رضازاده سراسکانرود استادیار گروه هنر، دانشکدة هنر، معماری و شهرسازی، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران. 0000-0003-4804-8292 Journal Article 2026 05 30 Introduction: Animal motifs occupy a prominent place among the decorative themes found in Sassanid artworks. Among these, one of the most well-known is the motif commonly identified as the Senmurv (Simorgh). This article reexamines the concept, function, form and significance of this motif, as well as its reflection in the culture and visual arts of the Sassanid period. It argues that the conventional designation "Senmurv (Simorgh)" is not the most appropriate name for this hybrid creature. Therefore, this present article aims to reassess the conventional name of this motif and to encourage a more critical approach that avoids the repetition of such errors in contemporary art historical and archaeological research. In addition, it proposes a more appropriate designation for this motif based on the available textual, visual, and historical evidence. Problem statement: To investigate this issue, the study examines references to the Senmurv (Simorgh) in Sassanid texts and explores the development of hybrid creatures in the art of the pre-Sassanid periods. It also demonstrates that the Sassanid hybrid creature did not emerge suddenly but evolved gradually through a long process before assuming its well-known legendary form. Finally, the article reviews previous studies by Western scholars to assess their interpretations of the form and meaning of the Senmurv (Simorgh) motif during the Sassanid period. The study then examines Sassanid artworks that depict the motif commonly identified as the Senmurv (Simorgh). It also considers the earliest known depiction of the Senmurv (Simorgh) in the Islamic period, which portrays the creature as a complete bird with slender legs, a cock-like head, round eyes, a small red beak, and a beard rendered in blue, red, and green. Undoubtedly, the Senmurv (Simorgh) of the Islamic period is depicted as a bird, whereas the creature represented in Sassanid art is a hybrid animal. The findings of this study, based on an analysis of the motif and its comparison with the Senmurv (Simorgh) of the Islamic period, indicate that the hybrid creature commonly identified as the Senmurv (Simorgh) in Sassanid art exhibits considerable formal diversity. Moreover, it differs significantly from the Senmurv (Simorgh) described in later Iranian literary traditions and oral narratives. These findings suggest that identifying the Sassanid hybrid creature with the Senmurv (Simorgh) of later Persian tradition is open to question. From this perspective, it should be distinguished from the motif depicted in Sassanid art, which appears as a hybrid creature and is known by the same name. Background: In many studies of art history and archaeology, this motif has frequently been reproduced and cited based on metalwork attributed to the Sassanid period. However, insufficient attention has been paid to the possibility that many of these objects may be forgeries or post-Sassanid works. Oscar White Muscarella, a leading scholar in the study of art forgery, has written extensively on the culture of forged antiquities and the illicit antiquities trade. According to Muscarella, forged objects are often assigned false or fabricated ancient provenances, while dealers employ expressions such as "said to be from," "supposedly from," and similar phrases to confer upon them a sense of authenticity and a value comparable to that of artifacts recovered through scientifically conducted archaeological excavations. With regard to the Sassanid period, Muscarella also discusses the widespread problem of forged artifacts. Although he acknowledges that the vast geographical extent of the Sassanid Empire limits the available evidence, he notes that, since the 1950s, dozens of gold and silver vessels produced in the Sassanid style have appeared on the antiquities market and have been acquired by museums, many of which are now considered forgeries. He further argues that the number of forged objects attributed to the Sassanid period exceeds that of many other historical periods and that countless counterfeit stamp seals have also been produced. Muscarella's observations prompted the authors to undertake a more critical examination of vessels attributed to the Sassanid period. An analysis of a large number of these objects, together with their manufacturing techniques and stylistic characteristics, suggests that many of them are products of the modern forgery tradition rather than authentic Sassanid artifacts. Unfortunately, these objects have been repeatedly reproduced and cited in scholarly publications without sufficient critical evaluation. Of particular relevance to the present study is the motif commonly identified as the Senmurv (Simorgh). Owing to its visual appeal and popularity, this motif appears to have been widely exploited by forgers and antiquities dealers, resulting in the production of numerous vessels bearing this design. A careful examination of their manufacturing techniques, workmanship, and finishing details indicates that many of these objects are clearly modern forgeries rather than genuine Sassanid works. Method: In terms of its purpose, this research is a fundamental study. Methodologically, it adopts a descriptive-analytical and historical approach, and the data were collected through library research. Result: The findings of this study indicate that the motif conventionally identified as the Senmurv (Simorgh) in Sassanid art represents a hybrid creature and bears no direct relationship to the Senmurv (Simorgh) of the Islamic period. Consequently, its traditional identification appears to be inaccurate. The study also compares this motif with the bird Varghna and demonstrates that the two represent distinct mythical creatures. On the basis of this analysis, the term "Persian Griffin" is proposed as a more appropriate designation for the Sassanid motif. This term was originally suggested by the distinguished art historian Mohamad Reza Riazi. After evaluating the various names that have been proposed, the authors conclude that "Persian Griffin" provides the most appropriate and accurate designation for this motif. در آثار دورۀ ساسانی نقش جانوری وجود دارد که به سیمرغ مشهور شده است. این نقش‌مایه عمدتاً در آثار فلزی، پارچه و سنگ‌نگاره دیده شده است. بر این اساس، مسئلۀ اصلی مقالۀ حاضر، بازنگری و بررسی مفهوم و نقش‌مایۀ سیمرغ و بازتاب آن در فرهنگ و هنر دورۀ ساسانی است. هدف اصلی نگارش مقالۀ حاضر، بازنگری و جلوگیری از عدم تکرار یک اشتباه در نامیدن این نقش و یافتن نام صحیحی به‌جای آن است. تقریباً همۀ پژوهش‌های پیشین حاکی از تکرار یک نام اشتباه هستند. بنابراین بازنگری دربارۀ این موضوع و نقش‌مایه، رسالتی است بر عهدۀ پژوهشگران هنر و باستان‌شناسی تا به مداقه و بررسی هرچه عمیق‌تر این نقش و نام آن بپردازند. برای این منظور، پیشینۀ سیمرغ در متون دورۀ ساسانی و نقش حیوانات ترکیبی در هنر دوره‌های پیشاساسانی مورد مطالعه قرار گرفته‌اند. پس از آن در خود دورۀ ساسانی آثار هنری که بازنمایی‌کنندۀ نقش موسوم به سیمرغ بوده‌اند، مورد بررسی قرار گرفته‌اند. در دورۀ اسلامی نیز اولین نقش سیمرغ که به‌طور مشخص به یک پرنده اشاره دارد، بررسی شده است. نتیجۀ حاصل از پژوهش نشان داد نقشی که در هنر ساسانی سیمرغ نامیده شده، بازنمایی‌کنندۀ یک جانورترکیبی است در حالیکه هیچ‌گونه ارتباطی با سیمرغ در دورۀ اسلامی ندارد؛ درنتیجه به اشتباه به این نام مشهور شده است. اصطلاح «گریفین ایرانی» به‌عنوان نام جایگزینی برای این نقش از سوی نگارندگان ارائه شده است. این پژوهش از نظر هدف بنیادی و از نظر روش و ماهیت، توصیفی ـ تحلیلی و تاریخی و گردآوری مطالب به صورتِ کتابخانه‌ای بوده است.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Typicality or Characterization: Female Subjectivity in Post Revolutionary Iranian Cinema تیپیکالیته یا کاراکترستیک: سوژگی زنانه در سینمای پس از انقلاب ایران 9747 10.22124/ira.2026.33702.1100 FA پیام زین العابدینی استادیار دانشگاه تهران، دپارتمان هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران. Journal Article 2026 05 26 Background: The representation of women in Iranian cinema has undergone a seismic shift following the 1979 Islamic Revolution. Initially, the cinematic apparatus was heavily influenced by a burgeoning ideological framework that often reduced female characters to “types”—symbolic representations of traditional values, motherhood, or domesticity. The central problem of this research lies in the “Methodology of Representation”: how can we track the evolution of the female image from these restrictive, stereotypical tropes toward a more nuanced “Female Subjectivity”? The research posits that while early post-revolutionary cinema often utilized women as moral signifiers within a patriarchal discourse, a counter-narrative has emerged. This study explores the narrative, formal, and discursive strategies that allow for the emergence of “agency” (the capacity to act and choose) and “autonomy” (independence from patriarchal definitions). The core issue is whether the cinematic language in Iran has succeeded in breaking the “logic of typicality”—where a character represents a whole class or ideology—to achieve “characteristic representation,” where the woman is a unique, self-determined individual. The tension between state-sanctioned modesty (Hejab) and the cinematic desire to portray domestic and social realities creates a unique discursive field that this study seeks to deconstruct. Objectives: The primary objective of this study is to provide a theoretical and analytical framework for evaluating the transition of female characters in Iranian cinema. Specifically, it aims to: Analyze the cinematic transition from “Type” (the stereotypical woman) to “Character” (the individualized subject). Identify the formal and narrative elements (such as cinematography, mise-en-scène, and dialogue) that facilitate the expression of female subjectivity. Examine how female agency is manifested in the works of both male and female directors within the post-revolutionary context. Compare two distinct eras and styles of filmmaking—represented by The Mare (1985) and The May Lady (1998)—to understand the progression of this discourse over two decades. Ultimately, the goal is to determine if Iranian cinema has created a “Third Space” for women that exists beyond the binary of traditionalism and Westernized tropes. Method: This research adopts a Qualitative Methodology, specifically utilizing Thematic Analysis within a Case Study framework. The choice of thematic analysis allows the researcher to identify recurring patterns, motifs, and discursive shifts across the selected films. Case Selection: Two seminal films were selected as purposive samples to represent different stages of the representation of women: The Mare (Madiyan, 1985), directed by Ali Zhakan: Selected as a representative of the first decade after the revolution, where rural settings and symbolic narratives were used to navigate ideological constraints. The May Lady (Banoo-ye Ordibehesht, 1998), directed by Rakhshan Bani-Etemad: Selected as a hallmark of the “Reform Era” (Second Khordad), reflecting urban complexities, intellectualism, and a self-reflexive female gaze. The analysis involves a “close reading” of the films, focusing on the “Cinematic Apparatus” (the way the camera looks at the woman) and the “Narrative Structure” (whether the woman is the driver of the plot or merely a passive object). Result: The findings of this research suggest a multi-layered and non-linear evolution in the representation of women.Regarding The Mare (1985): The analysis reveals that The Mare operates on the boundary between symbolic “Typing” and nascent “Characterization.” Set in a rural, rain-drenched landscape, the film uses the woman (Gohar) as a symbol of endurance and fertility, much like the mare of the title. However, the findings indicate that even within this traditional setting, the film begins to hint at a “maternal agency.” While Gohar is bound by the economic and patriarchal structures of her village, her struggle for survival transcends mere cliché. Nevertheless, the representation remains largely “Typical,” as her identity is inextricably linked to her role as a mother and a victim of circumstance. Regarding The May Lady (1998): The findings suggest that The May Lady represents a revolutionary leap toward “Female Subjectivity.” The protagonist, Forough Kia, is a documentary filmmaker and a single mother—a character who is consciously aware of her own “gaze.” The film utilizes a fragmented narrative and self-reflexive techniques to mirror Forough’s internal conflict between her “Individual Self” and her “Social Role” as a mother. The analysis shows that: The film successfully deconstructs the “Ideal Mother” myth. It introduces “Desire” as a legitimate aspect of the female subject, which was previously a taboo in post-revolutionary cinema. The cinematography avoids the “Male Gaze,” instead focusing on the subjective experience of the woman. General Findings: Broadly, the research finds that post-revolutionary cinema is not a monolithic entity. While patriarchal frameworks remain dominant in mainstream commercial cinema, an “Alternative Cinema” has emerged. This cinema utilizes subtle discursive shifts to move away from “Typicality” (where a woman is a signifier of honor or sacrifice) toward “Subjectivity” (where she is a site of contradiction, desire, and intellectual agency). Conclusion: This research demonstrates that the transition from “Type” to “Character” in Iranian cinema is an ongoing and complex process. The study concludes that the “Logic of Typicality,” which dominated the early years of post-revolutionary film, has been significantly challenged by directors who prioritize “Characteristic Representation.” The results indicate that: The Shift in Agency: There is a clear trajectory from “Passive Victimhood” to “Active Subjectivity.” Women in these films are no longer just “seen”; they are “seeing” subjects who negotiate their place within the power structures of society. The Role of Context: The socio-political shifts in Iran (particularly in the late 1990s) provided the necessary discursive space for films like The May Lady to redefine the female image. The Resilience of Subjectivity: Despite ideological pressures and censorship, the “Female Subject” has found a way to manifest through metaphors, silence, and the subversion of traditional narrative codes. Ultimately, the study suggests that the “Post-Revolutionary Woman” in cinema is a “Subject-in-Progress.” The transition from the “Typical” to the “Autonomous” is not merely a change in storytelling but a profound shift in the cinematic ontology of gender in Iran. This research contributes to the broader field of “Transnational Feminist Film Studies” by highlighting how agency can be articulated within restrictive cultural and political environments. مسئله پژوهش رویکردشناسی بازنمایی زن در سینمای پس از انقلاب ایران و واکاوی شیوه‌های روایی، فرمی و گفتمانی است که در تولید بیان فیلمیکِ «سوژگی زنانه» مؤثرند. در واقع، این تحقیق به دنبال ارزیابی نحوه گذار از الگوهای کلیشه‌ای و تیپیکال به‌سوی کاراکترهای پیچیده، خودآیین و واجد عاملیت در فضای سینمای معاصر ایران است. هدف پژوهش حاضر کاربردی است و قصدش فراهم‌کردن امکان ارزیابی و واکاوی چگونگی بازنمایی زنان و تشخیص وضعیت شکل‌گیری سوژگی چندلایه و رهایی‌بخش در آثار سینمایی پس از انقلاب است. تجزیه و تحلیل داده‌ها در این پژوهش، کیفی از نوع «تحلیل مضمون» به شیوه «مطالعه موردی» است. بر این اساس، دو فیلم «بانوی اردیبهشت» (رخشان بنی‌اعتماد) و «مادیان» (علی ژکان) به‌‌عنوان نمونه‌های موردپژوهی انتخاب و مورد تحلیل قرار گرفته‌اند. یافته‌های پژوهش نشان می‌دهد که سینمای پس از انقلاب ایران، اگرچه در بسیاری موارد همچنان در چارچوب‌های محدودکنندۀ پدرسالارانه حرکت می‌کند، اما در برخی آثار، نشانه‌هایی از سوژگی زنانۀ چندلایه قابل شناسایی است. تحلیل‌ها حاکی از آن است که فیلم «بانوی اردیبهشت» با فاصله‌گیری معنادار از الگوهای تیپیکال، واجد بازنمایی پیچیده‌تر و خودآیین‌تری است، در حالی‌که فیلم «مادیان» در مرز میان تیپ‌سازی نمادین و شخصیت‌پردازی محدود حرکت می‌کند. نتایج نشان می‌دهد که سینمای پس از انقلاب ایران، علی‌رغم محدودیت‌های ایدئولوژیک و ساختاری، در برخی آثار شاخص توانسته است امکان گذار از منطق «تیپیکالیته» به‌سوی بازنمایی «کاراکترستیک» و عاملیت زنانه را فراهم سازد و بیانگر پتانسیل‌های تغییر در بازنمایی جنسیتی باشد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 A Baudrillardian Reading of Post-Reality Indicators in Contemporary Iranian Painting and Their Relation to Quasi-Modernity خوانشی بودریاری از شاخص‌های پساواقعیت در نقاشی معاصر ایران و نسبت آن با شبه‌مدرنیته ایرانی 9820 10.22124/ira.2026.33924.1116 FA مرتضی صدیقی‌فرد گروه عکاسی، دانشگاه سوره، تهران، ایران نفیسه محبی اشنی کارشناسی ارشد، نقاشی، دانشکده هنر، دانشگاه بین المللی سوره، تهران، ایران Journal Article 2026 06 16 Introduction: During the final decades of the twentieth century and the early years of the twenty-first century, the relationship between reality, truth, representation, and visual culture underwent profound transformation. The expansion of mass media, the proliferation of digital technologies, the acceleration of information circulation, and the increasing dominance of images in everyday life have altered how reality is perceived, experienced, and represented. Under such conditions, reality can no longer be understood as a stable external reference merely reflected by images. Images increasingly participate in constructing, mediating, and organizing what is experienced as reality. Within this context, post-reality becomes an important framework for understanding the changing relationship between image and world. Although the term is often associated with post-truth politics, misinformation, and media manipulation, its aesthetic and cultural implications extend beyond political communication. In visual culture, post-reality refers to a condition in which signs, representations, and mediated experiences increasingly replace direct engagement with reality, weakening the distinction between representation and referent. Background: The theoretical foundations of this perspective can be traced to Jean Baudrillard’s concepts of simulacra, simulation, and hyperreality. Baudrillard argues that contemporary societies are increasingly characterized by systems of signs that no longer refer to an original reality, but circulate within self-referential networks of meaning. Simulation, in this sense, does not simply imitate reality; rather, it produces forms of experience that become more influential than reality itself. Although the present study employs the term post-reality rather than hyperreality, it draws extensively on this theoretical tradition to examine how contemporary painting participates in the reconfiguration of reality, meaning, and subjectivity. The significance of this question becomes clearer in societies whose historical trajectories differ from the Western contexts in which many postmodern theories first emerged. Iran is a particularly important case, since Iranian modernity has not developed through a linear and fully institutionalized process. It has been marked by discontinuities, uneven transformations, and the simultaneous presence of traditional, modern, and global cultural forms. To address this specificity, the study employs the concept of quasi-modernity. Quasi-modernity refers to a situation in which the visible signs, technologies, and lifestyles associated with modernity are present, while the institutional, epistemological, and historical foundations of modernity remain incomplete, fragmented, or unstable. Existing scholarship on post-reality, hyperreality, simulation, and post-truth has largely focused on political communication, media studies, photography, digital culture, or broader discussions of postmodernism. Even when Baudrillard’s concepts have been applied to visual culture, they have often been used in relation to photography, interactive media, or digital art rather than painting. Studies on Iranian contemporary art have also frequently emphasized identity, tradition, globalization, or modernity without systematically examining how changing relations between image and reality reshape artistic representation. This gap necessitates a contextualized framework that considers both the theoretical insights of post-reality and the historical conditions of quasi-modernity. Research methodology: This study is qualitative, descriptive-analytical, and interpretive. It does not aim to test a quantitative hypothesis or provide statistical generalization; rather, it seeks to understand how post-reality appears in contemporary Iranian painting and how its visual mechanisms relate to quasi-modernity. The research analyzes selected works by four contemporary Iranian painters—Mohammad Khalili, Omid Hallaj, Mehdi Farhadian, and Khosrow Khosravi. The works were selected purposively because they make visible different aspects of the relationship between post-reality and quasi-modernity. The unit of analysis is the individual painting, examined at three interconnected levels: first, the descriptive level, including composition, spatial organization, color, light, figure, absence, stillness, density, and void; second, the semiotic-interpretive level, including instability of reference, simulation, suspension of meaning, crisis of subjectivity, emotional distancing, and the spectralization of everyday life; and third, the conceptual-contextual level, where the findings are interpreted in relation to Iranian quasi-modernity, historical non-synchronicity, the coexistence of tradition and modernity, and the transformation of visual experience. Findings: The analysis shows that contemporary Iranian painting can no longer be understood solely as a medium for representing external reality. In the selected works, painting increasingly functions as a space in which the conditions of reality itself are questioned and reconfigured. Images do not simply depict the world; they participate in producing alternative realities, fragmented identities, unstable memories, and ambiguous forms of meaning. In Khalili’s works, architectural and industrial spaces appear recognizable but detached from everyday functionality, producing a cold, suspended, and emptied modern space. In Hallaj’s works, the human figure or body becomes unstable and sign-like rather than a coherent subject, foregrounding the crisis of subjectivity. In Farhadian’s works, historical and cultural references appear as layered reconstructions rather than transparent representations of the past, revealing the transformation of memory into a mediated image. In Khosravi’s works, cultural signs, motifs, and forms are displaced into contemporary structures, generating a spectral relationship between tradition, absence, and representation. Across these cases, reality is not presented as fixed, immediate, or external; it emerges through networks of image, memory, reference, simulation, and suspended meaning. Results: The central result of the study is that post-reality in contemporary Iranian painting cannot be understood independently of quasi-modernity. Quasi-modernity provides the historical, cultural, and experiential conditions that make post-reality visually operative in the Iranian context. The relation between post-reality and quasi-modernity is therefore not merely stylistic or technical, but conceptual, epistemological, and cultural. The selected paintings reveal that post-reality in Iran does not necessarily result from a completed transition from modernity to postmodernity. Rather, it can emerge from the simultaneous presence of incomplete modernity, cultural memory, media saturation, and historical discontinuity. Accordingly, contemporary Iranian painting functions not merely as a reflection of social reality, but as a critical arena in which the authority of reality, the coherence of the subject, the stability of meaning, and the status of visual truth are continuously negotiated and questioned. دهه‌های پایانی قرن بیستم که به‌اصطلاح برخی فلاسفه وضعیت مدرن متأخر یا پسامدرن است، نسبت میان واقعیت، حقیقت و بازنمایی در حوزۀ فرهنگ بصری دگرگونی عمیقی یافته است. پژوهش حاضر به تحلیل شاخص‌های پساواقعیت و نسبت آن با وضعیت شبه‌مدرنیته ایرانی می‌پردازد. مسئله آن است که در جامعه‌ای که مدرنیته در آن به‌صورت کامل و نهادینه تحقق نیافته، پساواقعیت به‌عنوان یک مفهوم پسامدرن، چگونه در زبان بصری نقاشان ظهور می‌یابد و متأثر از آن، بازنمایی واقعیت، معنا و هویت به چه شکل می‌شود. این پژوهش کیفی است و با روش توصیفی ـ تحلیلی انجام شده است و داده‌های آن به شیوۀ کتابخانه‌ای گردآوری شده‌اند. نمونه‌های مورد تحلیل در این پژوهش، به‌صورت هدفمند از میان آثار چهار نقاش معاصر ایرانی انتخاب شده‌اند. یافته‌های پژوهش که ماحصل تجزیه و تحلیل آثار و نمونه‌های پژوهشی بوده و بر اساس روش‌شناسی مشخص و ساختارمندی صورت پذیرفته، نشان می‌دهد که در آثار مورد تحلیل، واقعیت کمتر به‌مثابۀ امری ثابت و بیرونی بازنمایی می‌شود و بیشتر در قالب شبکه‌ای از تصاویر، حافظه، روایت، ارجاع و وانمود شکل می‌گیرد. از سویی با استخراج شاخص‌هایی از دل تحلیل آثار، چنین نتیجه شد که نسبت پساواقعیت و شبه‌مدرنیته در نقاشی معاصر ایران صرفاً نسبتی سبکی یا تکنیکی نیست، بلکه نسبتی مفهومی، معرفتی و فرهنگی است. آوردۀ پژوهشی این مقاله چنین قابل تبیین است که نسبت تحلیل شدۀ میان پساواقعیت و شبه‌مدرنیته در نقاشی معاصر ایران، نسبتی است که در آن نقاشی از رسانۀ بازنمایی واقعیت عینی به میدان بازاندیشی انتقادی دربارۀ حقیقت، سوژه و تجربۀ زیستۀ معاصر بدل می‌شود.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Pop Music as a Meaning-Making Practice in the Everyday Life of Young Women in Babol موسیقی پاپ به‌مثابه کنش معناساز در زندگی روزمرۀ دختران جوان بابل 9819 10.22124/ira.2026.33908.1114 FA انسیه آقائی جلودار دانشجوی کارشناسی ارشد، رشته مردم‌شناسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران سید قاسم حسنی دانشیار، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر ، ایران 0000-0003-1586-0970 کوهیار محسن پور استادیار، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر ، ایران Journal Article 2026 06 14 Introduction: Pop music has an ordinary but persistent presence in the everyday lives of young people in contemporary Iran. It is heard in bedrooms, homes, cars, taxis, cafés, workplaces, mobile phones, playlists, and social media feeds. Because this presence is familiar, it is often reduced to entertainment, media consumption, or personal taste. Yet ordinary listening may become part of emotional life, memory, bodily response, social interaction, spatial experience, and self-understanding. This article examines these processes among young women in Babol, a non-metropolitan city in northern Iran. Rather than asking how much pop music is consumed, it asks how pop music becomes meaningful in daily life and how this meaning is shaped by gender, family expectations, urban space, digital media, and local cultural conditions. Literature Review: Studies of everyday music listening have shown that music can regulate affect, structure time, accompany routine activity, and participate in identity formation. Other studies have examined taste, self-presentation, gender, fandom, and digital platforms. However, much of this literature isolates one dimension of musical life: emotion regulation, textual representation, platform use, youth taste, or media consumption. Fewer studies show how these dimensions converge in lived experience, especially among young women in non-metropolitan Iranian settings. Many Iranian studies have examined music through surveys, media analysis, adolescent samples, lyrical content, or broad discussions of consumption and morality. Less attention has been paid to how young women make meaning through music in relation to body, memory, family, digital media, public judgment, and the city itself. This article addresses that gap by placing meaning-making at the centre of analysis. Methodology: The article is based on a qualitative study with an ethnographic orientation. Here, “ethnographic” does not refer to classical long-term residence in the field, but to a context-sensitive inquiry that combines in-depth interviews, field observation, analytic memo-writing, and thick description. The field of research is Babol, a layered auditory environment where local judgments, family relations, youth culture, digital media, and informal sound practices coexist. The main data were collected through eleven in-depth semi-structured interviews with women aged eighteen to thirty living in Babol. Purposeful and gradual sampling was used to include participants with different educational, occupational, marital, familial, and digital backgrounds. Interviews lasted between sixty and ninety minutes and focused on listening situations, emotion, memory, the body, family relations, friendship, playlists, social media, urban movement, and experiences of judgment. Field notes, contextual observations, and analytic reflections were also recorded. Data collection and analysis proceeded simultaneously. Thematic adequacy was reached when later interviews, especially the tenth and eleventh, no longer generated new main themes. The analysis followed the six-phase model of thematic analysis: familiarization with the data, initial coding, searching for themes, reviewing themes, defining and naming themes, and writing the report. The themes were interpreted in relation to Babol’s auditory field, gendered experience, family life, urban movement, and digital mediation. Findings: The findings show that pop music becomes meaningful at several interconnected levels. First, at the level of affect, memory, and the body, music helps participants regulate mood, create calm, release emotion, and express feelings indirectly. Songs may be linked to heartbreak, longing, family memories, travel, solitude, or imagined futures. Music also appears in embodied responses such as humming, dancing, crying, movement, or sensing rhythm while working, commuting, driving, or resting. Second, music participates in the making of privacy and personal space. A bedroom, headphones, mobile phone, car, or a short passage through the city can become a temporary emotional territory. Privacy is therefore not always a fixed physical condition; it is often produced through listening. A car ride may become a moving refuge, and a song heard during sewing or study may organize inner rhythm and emotional continuity. Third, pop music has relational and digital significance. It moves between family members, friends, spouses, social media stories, shared clips, short videos, and carefully arranged playlists. A playlist is not merely an archive of songs; it may become a condensed portrait of the self: emotional, calm, nostalgic, selective, modern, or distinct. Songs used in stories or posts also frame mood and manage what can be shown about the self without explicit declaration. Fourth, music is gendered through audibility and visibility. The issue is not simply that girls and boys have different tastes, but that young women often face unequal possibilities for making listening public. Headphones, low-volume listening, selective sharing, caution in taxis, family boundaries, and sensitivity to judgment show that gender enters musical life through the management of exposure. Finally, Babol emerges as a multilayered auditory field. The city shapes how music is heard, hidden, displayed, repeated, and interpreted. Conclusion: The article concludes that pop music in the everyday lives of young women in Babol should be understood as a situated and relational practice of meaning-making, not merely as entertainment, media exposure, or youth taste. Meaning is produced in the relationship among music, listener, body, memory, space, media, family, friends, gender, and urban context. The study shows that affect, self-representation, digital life, gender, and the city are interconnected dimensions of meaning-making. It also shows that non-metropolitan cities are important sites for understanding contemporary musical culture. Pop music is therefore one of the informal languages through which young women narrate emotion, sustain memory, produce privacy, negotiate judgment, relate to others, and inhabit the city. موسیقی پاپ در زندگی روزمرۀ دختران جوان بابل صرفاً به‌منزلۀ سرگرمی یا مصرف رسانه‌ای فهم نمی‌شود، بلکه در پیوند با عاطفه، خاطره، بدن، روابط اجتماعی، زیست دیجیتال، قضاوت اجتماعی و میدان شنیداری شهر معنا می‌یابد. هدف این پژوهش، تبیین نقش موسیقی پاپ در معناسازی زندگی روزمرۀ دختران جوان ۱۸ تا ۳۰ سالۀ شهر بابل است. این پژوهش با رویکرد کیفی و جهت‌گیری مردم‌نگارانه انجام شده است. داده‌ها از طریق یازده مصاحبۀ نیمه‌ساختاریافته با دختران ۱۸ تا ۳۰ سالۀ بابل، همراه با مشاهده‌های میدانی، یادداشت‌های تحلیلی و داده‌های زمینه‌ای شهر گردآوری شد. نمونه‌گیری به‌صورت هدفمند و تدریجی انجام شد و گردآوری داده‌ها تا جایی ادامه یافت که در مصاحبه‌های دهم و یازدهم، مضمون تازه‌ای به تحلیل افزوده نشد. تحلیل داده‌ها با روش تحلیل مضمون انجام شد و مضامین در پیوند با زمینۀ فرهنگی و شنیداری بابل تفسیر شدند. یافته‌ها نشان می‌دهد موسیقی پاپ در چهار سطح اصلی معنا می‌شود: نخست، در سطح عاطفه، خاطره و بدن، به ابزاری برای تنظیم حال، آرامش، بازخوانی خاطره و تجربه بدنی تبدیل می‌شود. دوم، در سطح میدان شنیداری بابل، در فضاهایی چون خانه، اتاق، ماشین، تاکسی، کافه، خیابان و محل کار با تجربه زیستۀ شهر پیوند می‌خورد. سوم، در سطح فهرست پخش، استوری، زیست دیجیتال و خودبازنمایی، وسیله‌ای برای نمایش سلیقه، عاطفه و تصویر مطلوب از خود است؛ و چهارم، در سطح جنسیت، قضاوت اجتماعی و مدیریت شنیدن در فضای عمومی، با احتیاط، هندزفری، کنترل دیده‌شدن و امکان یا محدودیت بروز صدا پیوند می‌یابد. معناسازی موسیقی پاپ در میان دختران جوان بابل فرایندی ثابت، فردی و یکدست نیست، بلکه فرایندی رابطه‌ای، سیال و زمینه‌مند است که در رابطۀ میان موسیقی، شنونده، بدن، خاطره، فضا، رسانه، خانواده، دوستان، جنسیت و شهر شکل می‌گیرد. بر این اساس، موسیقی پاپ یکی از زبان‌های روزمرۀ تجربه زیسته و خودفهمی دختران جوان است.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Three Memory Systems in Contemporary Islamic Art: A Secondary Analysis of Theoretical Texts and a Dialogue with Mystical Imagination سه رژیم حافظه در هنر معاصر جهان اسلام: تحلیل ثانویۀ متون نظری و گفت‌وگو با خیال عرفانی 9749 10.22124/ira.2026.33683.1099 FA مهران گلستان عضو هیئت علمی گروه تاریخ تطبیقی و تحلیلی هنر اسلامی دانشکده علوم نظری و مطالعات عالی هنر دانشگاه هنر ایران، تهران، ایران Journal Article 2026 05 25 Background: Contemporary Islamic art has become one of the most contested concepts in art history, cultural studies, and postcolonial theory. The juxtaposition of “Islamic” (referring to religious, historical, and epistemological traditions) and “contemporary” (pointing to the fluid, globalized conditions of the modern world) inherently carries a conceptual tension (Rabbat, 2018: 5). Previous studies have predominantly focused on a binary opposition between continuity with and rupture from Islamic tradition. While this dichotomy has generated valuable insights, it has largely overlooked the role of “memory politics” – the systems of selection, representation, and forgetting that determine how a discourse relates to its past. The continuity-oriented approach often falls into essentialism and reproduces Orientalist narratives of an “eternal Islam,” while the rupture-oriented approach risks nihilism and unintentionally repeats the colonial story of the “end of Islamic art” (Flood, 2007: 41; Shabout, 2007: 10). This study addresses these gaps by introducing an analytical framework based on three distinct “memory systems” and by localizing Western memory theories through Islamic mystical-philosophical concepts, particularly Ibn ‘Arabi’s “connected imagination” (al-khayāl al-muttaṣil). Objectives: The primary objective is to discover how three memory systems are articulated in key theoretical texts on contemporary Islamic art, using a secondary thematic analysis with a shift in interpretive lens. Specifically, the study aims to: (1) identify dominant memory systems within the selected literature; (2) reinterpret these systems through Western memory theories (Assmann’s cultural/communicative memory, Boym’s restorative/reflective nostalgia, Ricœur’s work of memory); (3) localize these systems through Islamic mystical-philosophical concepts (Ibn ‘Arabi’s connected imagination, Mulla Sadra’s substantial motion, and a reading of Ibn Khaldun’s ‘aṣabiyyah as “civilizational memory”); and (4) determine which system best escapes essentialism and the continuity/rupture dichotomy. A further aim is to show how an Islamic mystical lens may provide ontological depth to a postcolonial concept such as Bhabha’s Third Space. Method: This is a qualitative secondary analysis with a shift in interpretive lens – a theory-driven inductive approach. The corpus consists of eight purposively selected theoretical texts published after 2000, chosen for their explicit engagement with contemporary Islamic art and its relation to heritage. The sampling strategy was “maximum diversity” across three currents: continuity-oriented (Baslou, 2020; Yousefi, 2022), rupture-oriented (Shabout, 2007; Naef, 2015; Dadi, 2016), and hybrid/interstitial (Rabbat, 2018; Daftari, 2006; Lowry, 2006). The unit of analysis was the “meaning unit” (a sentence or phrase containing an independent claim about the relationship between contemporary art and past heritage). Analysis proceeded in six steps: (1) repeated reading and extraction of 47 meaning units; (2) open coding (e.g., “historical rupture” from Shabout, 2007: 10; “museum-like view of tradition” from Shabout, 2007: 146; “connection between artistic peak and spiritual engagement” from Baslou, 2020: 233); (3) clustering codes into three preliminary thematic groups (continuity, deconstruction, hybrid); (4) reinterpreting each cluster through memory theory (Assmann, Boym, Ricœur) to form three memory systems; (5) localizing each system with Islamic philosophical concepts; and (6) validation through theoretical triangulation and peer review. Reflexivity was employed to manage the researcher’s familiarity with Islamic philosophy, positioning the researcher “in dialogue with” (not inside or outside) the mystical tradition. The study is theory-driven and interpretive; its purpose is conceptual reconstruction, not statistical generalization. Result: The analysis yielded three distinct memory systems. First, the System of Longing for Union (ḥasrat-e veṣāl) represents tradition as “living heritage” and “cultural memory represented as sacred,” emphasizing linear continuity. Baslou (2020: 188) defines Islamic art as “the manifestation of an epistemological-theological system” and considers the application of fundamental Islamic philosophical concepts as a necessary condition for calling a contemporary work “Islamic.” Yousefi (2022: 123) speaks of the “future-oriented concept of Islamic art,” focusing on re-creating lost identities in the face of modernity’s crises. This system aligns with Boym’s “restorative nostalgia” and Assmann’s “cultural memory.” Second, the System of Authentic Renewal (tajaddod-e aṣīl) turns tradition into “raw material for critique” and, through rupture, frees memory from sanctity. Shabout (2007: 10; 146) emphasizes the “rupture in the artistic creative process” and the “museum-like view of tradition” where heritage is no longer part of everyday life. Naef (2015: 104) notes that modern Islamic art is “rarely raised by artists themselves, but mostly by critics, curators, and art historians.” This system corresponds to Boym’s “reflective nostalgia” and Ricœur’s “work of memory.” Third, the System of Mystical Allegory (tamṯīl-e ‘erfānī) uses tradition neither as truth nor as its negation, but as an “allegory” for the contemporary condition. Rabbat (2018: 7) places contemporary Islamic art in an “in-between position.” Daftari (2006: 8) emphasizes the “redefinition, deconstruction, and challenging of tradition.” Lowry (2006: 41, 61) speaks of “Islamic cosmopolitanism” and “fluid hybrid identity.” When localized through Ibn ‘Arabi’s “connected imagination” (Ibn Arabi, 2016: 120-125), this system gains ontological depth: in-betweenness is not merely a transitional social position but a mode of mediation between matter and meaning, past and present. Thus, it can be placed in dialogue with Bhabha’s “Third Space” (Bhabha, 1994: 28), though the two concepts are not identical; the former is ontological and mystical, while the latter is discursive and political. To illustrate, works by Shirin Neshat (“Women of Allah,” 1994-1997) and Monir Farmanfarmaian (mirror works) are briefly mentioned as examples where traditional elements (calligraphy, mirror, veil) are used neither to restore nor negate heritage, but as allegories for the paradoxical condition of contemporary Muslim women. Conclusion: The three memory systems coexist in the literature on contemporary Islamic art, each offering a different response to the crises of spirituality and modernity. What this research reveals is not the superiority of one system over another, but the necessity of attending to the “situatedness” of each system in specific contexts. The System of Longing for Union is effective where civilizational restoration is a priority; the System of Authentic Renewal is useful for criticizing traditional institutions; however, the System of Mystical Allegory has the strongest theoretical capacity to escape essentialism and the continuity/rupture binary. Its main contribution lies in translating memory theory into a nuanced, locally grounded model and showing that Islamic mystical philosophy can serve not merely as an illustration of Western theory, but as a critical interlocutor. The findings remain interpretive and corpus-bound; the model should be tested in future case studies, comparative visual analyses, and interviews with artists. The article’s theoretical contribution is introducing “memory systems” as an analytical tool and establishing Ibn Khaldun as a mediating link between Western memory theory and Islamic mysticism. هنر معاصر جهان اسلام همواره با مسئله «نسبت با میراث گذشته» درگیر بوده است. مطالعات پیشین عمدتاً بر دوگانه تداوم/گسست متمرکز شده‌اند و از تحلیل «سیاست‌های حافظه» به عنوان نیروهای محرک در بازنمایی سنت غافل مانده‌اند. این پژوهش در پی آن است که نشان دهد چگونه می‌توان با تغییر لنز تحلیلی از دوگانه تداوم/گسست به سه‌گانه رژیم‌های حافظه، صورت‌بندی دقیق‌تری از نسبت با میراث در متون نظری هنر معاصر اسلامی ارائه کرد. روش تحلیل در این پژوهش از نوع کیفی و به شیوه «تحلیل ثانویه با تغییر لنز تفسیری» انجام شده است. داده‌ها شامل هشت متن نظری کلیدی است که به روش نمونه‌گیری هدف‌مند انتخاب شده‌اند. واحد تحلیل «گزاره مفهومی» بوده و فرایند تحلیل در شش گام اجرایی طی شد. یافته‌ها نشان می‌دهد که سه «رژیم حافظه» متمایز قابل شناسایی است: (۱) رژیم حسرت وصال که سنت را به‌مثابه «میراثی زنده» و «حافظه فرهنگی بازنمایی‌شده به‌عنوان مقدس» بازنمایی می‌کند. (۲) رژیم تجدد اصیل که سنت را به «ماده خام نقد» تبدیل می‌کند و با ایجاد گسست، حافظه را از چنبره تقدس می‌رهاند. (۳) رژیم تمثیل عرفانی که در آن سنت نه به‌عنوان حقیقت و نه به‌عنوان نقیضه، بلکه به‌مثابه «تمثالی» برای بیان وضعیت معاصر به‌کار می‌رود. یافته‌ها حاکی از آن است که رژیم تمثیل عرفانی، در مقایسه با دو رژیم دیگر، از طریق مفهوم خیال متصل امکان فراروی از ذات‌گرایی را در سطح نظری پیش‌روی پژوهشگر می‌گذارد. با این‌حال، تأیید تجربی کارآمدی این رژیم نیازمند پژوهش‌های موردی بیشتر است. از منظر پسااستعماری، این رژیم می‌تواند در گفت‌وگو با «فضای سوم» هومی بابا و «خیال متصل» ابن‌عربی خوانشی بومی ارائه دهد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 A Psychoanalytic Analysis of the Concept of the Uncanny in Brad Holland’s Works Based on Freudian Theory تحلیل روان‌کاوانۀ مفهوم امر غریب در آثار براد هالند براساس نظریۀ فروید 9748 10.22124/ira.2026.33645.1096 FA رضا احسان‌پور دانشکدۀ هنرهای عالی و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران. Journal Article 2026 05 22 Background: Brad Holland, widely regarded as one of the most influential and transformative figures in contemporary illustration, has fundamentally redefined the medium’s boundaries by transcending the traditional constraints of literal textual representation. Rather than serving as a mere decorative accompaniment to a narrative, Holland has pioneered a profound metaphorical language that acts as a visual conduit for exploring the labyrinthine depths of the human psyche and the pervasive existential crises of the modern era. The core of Holland’s aesthetic power lies in its ability to bypass rational filters and communicate directly with the viewer’s unconscious, creating a world where the boundary between reality and dream is perpetually blurred. The fundamental problem encountered when confronting Holland’s visual universe is the elicitation of a specific, pervasive quality of unease; his images often evoke a sensation that is simultaneously disturbing, enigmatic, and hauntingly familiar. This specific affective experience leaves the viewer in a state of psychological suspension—a liminal space between cognitive recognition and profound alienation. To provide a rigorous academic framework for this phenomenon, this study utilizes Sigmund Freud’s seminal 1919 psychoanalytic theory of “The Uncanny” (Das Unheimliche), which defines this sensation not as a fear of the unknown, but as the return of that which was once familiar and intimate, but which has been repressed and subsequently resurfaced in a distorted or “unhomely” form. Objectives: The primary inquiry of this research is to decipher the visual mechanisms through which Holland manifests the constituents of the Uncanny, investigating how the artist manipulates formal elements—such as composition, light, and anatomical distortion—alongside thematic motifs to reify the repressed anxieties of the subject. Method: Adopting a qualitative, descriptive-analytical methodology rooted in the psychoanalytic tradition of art criticism, this study examines Holland’s body of work with a specific focus on seven representative pieces selected through a purposive and criterion-based sampling method: Blue Chair, Eyeband, Jester, Tightrope Walker, Two Faces, Long Horse, and Perfect Balance. These works are analyzed as sites where the “homely” and the “unhomely” collide, revealing that the Uncanny in Holland’s oeuvre is manifested not through overt horror, but through a sophisticated process of defamiliarization of the mundane. In Holland’s hands, the most common objects and human forms are stripped of their everyday security and imbued with a sense of “otherness.” For instance, in the work Blue Chair, the domestic environment—traditionally the site of Heimlich or security—is radically subverted. By distorting the scale and perspective of a common utilitarian object, Holland transforms the safe domestic sphere into an imposing and alien landscape, mirroring the Freudian notion that the unhomely is precisely that which was once domestic but has become strange through the process of psychic displacement. This sense of existential vulnerability is further intensified through motifs that directly engage with primal fears, such as the concept of castration anxiety. The work Eyeband serves as a poignant visual metaphor for this Freudian anxiety, which is often symbolized in literature and art by blindness or injury to the eyes. By binding the eyes of his subjects, Holland evokes a profound sense of helplessness and the loss of the ego’s mastery over the external world, forcing the viewer to confront the fragility of their own visual and ontological security. Furthermore, the theme of identity fragmentation is explored through the motif of “The Double” (Doppelgänger), which Freud identifies as a primary source of the Uncanny. In works like Jester and Two Faces, Holland utilizes the mask and the literal fracturing of the human countenance to illustrate the disintegration of the cohesive ego. These images destabilize the viewer’s certainty regarding identity, suggesting that the “other” is not an external threat but an internal, repressed fragment of the self that has broken through to the surface. This psychic splitting, or Spaltung, creates an intellectual uncertainty regarding whether the figure is a living being or a soulless automaton, a concept that sits at the very heart of the Uncanny experience. Conclusion: The precarious nature of human consciousness and the struggle for psychological equilibrium are recurring themes that find their visual counterpart in compositions like Tightrope Walker and Perfect Balance. In these works, Holland presents the human figure in states of impossible tension, suspended over dark, unfathomable voids. The Tightrope Walker becomes a powerful metaphor for the modern subject navigating the thin line between rational control and the chaotic impulses of the unconscious, while Perfect Balance manifests the exhausting struggle of the psyche to maintain structural integrity against opposing internal forces. This drive for absolute stasis ultimately mirrors the biological drive to return to an inanimate state, suggesting a connection to Freud’s concept of the death drive (Thanatos). Similarly, in Long Horse, Holland employs zoomorphism and extreme anatomical distortion to tap into surfeited animistic beliefs—those primitive, pre-rational convictions where the boundaries between the human, animal, and monstrous are fluid and permeable. Ultimately, the research findings reveal that Holland utilizes these specific visual strategies to destabilize the boundary between the conscious and the unconscious, making his works a locus for the “return of the repressed.” The human figures in his illustrations are rarely autonomous subjects; they are vessels for the manifestation of latent, universal anxieties. The collapse of boundaries between the human and the non-human, the animate and the inanimate, and the familiar and the alien serves as a visual reification of the modern subject’s existential instability. Holland’s art does not merely illustrate a story; it performs a psychoanalytic function, forcing the viewer to confront the “unfamiliar” that resides within the “familiar.” In conclusion, the power of Brad Holland’s work lies in its ability to translate the abstract mechanics of the Freudian Uncanny into a tangible visual experience. By making the invisible visible and the repressed manifest, Holland exposes the fragile nature of the ego and the persistent, haunting presence of the unheimlich in the contemporary world, proving himself to be a master cartographer of the modern unconscious. براد هالند به‌عنوان یکی از تصویرگران معاصر، با عبور از بازنمایی صرفِ متن، به خلق زبانی استعاری دست یافته است که لایه‌های عمیق روان‌شناختی و بحران‌های وجودی انسان را هدف قرار می‌دهد. مسئلۀ بنیادین در مواجهه با جهان دیداری هالند، تجربۀ کیفیتی آزاردهنده، مرموز و در عین‌حال آشناست که مخاطب را در تعلیقی میان شناخت و بیگانگی رها می‌کند. این پژوهش با هدف واکاوی این کیفیت دیداری، بر مفهوم روان‌کاوانۀ امر غریب در آرای زیگموند فروید تمرکز کرده است. پرسش اصلی تحقیق بر این محور استوار است که هالند چگونه با بهره‌گیری از عناصر فرمی و محتوایی، مؤلفه‌های امر غریب را در آثار خود بازنمایی می‌کند. روش پژوهش حاضر، توصیفی ـ تحلیلی از نوع کیفی است. جامعۀ تصویری شامل مجموعۀ آثار براد هالند بوده که از میان آن‌ها، هفت اثر شاخص به‌صورت هدف‌مند و معیارمحور برای تحلیل دقیق انتخاب شده‌اند. یافته‌های پژوهش نشان می‌دهد که امر غریب در آثار هالند از طریق آشنایی‌زدایی از امر مألوف تجلی می‌یابد. نتایج نشان می‌دهد که در این هفت اثر، انسان به عرصه‌ای برای بازگشت امر سرکوب‌شده تبدیل شده است؛ جایی که مرز میان انسان و غیرانسان فرومی‌ریزد و اضطراب‌های پنهان سوژۀ مدرن در قالبی دیداری عینیت می‌یابد. برآیند این تحلیل‌ها نشان می‌دهد که هالند امر مألوف را به‌طور کامل نابود نمی‌سازد، بلکه با ایجاد انحراف‌های جزئی اما بنیادین در ساختار مادی و معنایی آن، راه را برای فوران ناخودآگاه سرکوب‌شده هموار می‌کند؛ بنابراین، امر غریب در تصویرسازی‌های هالند، نه به‌عنوان یک تمهید صوری و تزئینی، بلکه ابزاری کارآمد برای بیان دیداری بحران‌های وجودی، چندپارگی هویت، اضطراب‌های فروخورده و ترس‌های عمیق بشری جلوه‌گر می‌شود. مخاطب در واقع با وضعیتی روبه‌رو می‌شود که لایه‌های پنهان، غریب و اضطراب‌آور روان خویش را بازتاب می‌دهد. این امر، او را در وضعیت میان‌مرزیِ تعلیق، پذیرش و بیگانگی رها می‌سازد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Investigating the Fluidity of the Concept of Music in Interdisciplinary Research; Case Study of Four Articles from Related Fields بررسی سیالیت مفهوم موسیقی در پژوهش‌های میان‌رشته‌ای؛ مطالعۀ موردی چهار مقاله از حوزه‌های مرتبط 9823 10.22124/ira.2026.33742.1101 FA منصور حبیب دوست عضو هیأت علمی گروه موسیقی، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران Journal Article 2026 05 30 Introduction: Music has specific theoretical concepts, analytical systems, and scientific vocabulary in its specialized topics, but at the same time it is also a social phenomenon that in everyday life is heard in various genres and people talk about it. This duality sometimes produces a kind of conceptual fluidity, and the issue becomes challenging when research from different fields of humanities, such as psychology and sociology, uses music as a subject or analytical variable. In such research, it is expected that this art would be analyzed on the basis of a specialized and methodical understanding, on a par with other fields, but sometimes it remains merely at the level of lived experience or the use of everyday language, challenging the content of the research; The conceptual fluidity in everyday language does not mean fluidity in the scientific research; rather, as has been emphasized in the systematic understanding of music, musical elements require accurate definition and explanation so that they can be properly incorporated into the research design. Research Questions: The central question of this study is how the lack of specialized musicological knowledge in some interdisciplinary studies could lead to reductionism and unjustified fluidity in the meaning and concept of music? The importance of this question lies in the fact that music is a perceptual system with its own specific logic, and it simultaneously contains temporal structures, production methods, performance patterns, reception mechanisms, and ultimately interpretive features. Therefore, any entry of music into various fields of the humanities and interdisciplinary research requires a minimum of specialized knowledge of these internal dimensions. Research Hypothesis: 1. The distinction between everyday language and scientific language; in the former, music is tied to lived experience, emotions, and cultural relationships, and in Cook’s terms, it can be applied as a “semantic label” to a wide range of experiences, without its internal dimensions being specified (Cook, 2000). In contrast, scientific language requires the clear definition of concepts; Nattiez emphasizes that a distinction must be made between the descriptive language of the listener and the analytical language of the researcher (Nattiez, 1990). 2. his three-level model, by distinguishing the poetic or production actions, internal or sound organization, and aesthetic or interpretation levels, shows that many interdisciplinary studies eliminate the “internal level” (Ibid). 3. Bader’s systematic understanding of music considers it as a network of relationships at three levels: perceptual, structural, and cultural and warns that without a precise definition of perceptual and structural levels, music becomes conceptually indeterminate (Bader, 2018). 4. Music as a cultural-historical phenomenon also emphasizes the diversity of functions in cultures, the necessity of determining the context of research, and the necessity of combining the two aesthetic and identity dimensions for the validity of the analysis (Steinberg, 2004; Garcia-Benito, 2025). Research Literature: In Persian literature on music studies, although there is no research that directly targets the topic, the need to revise common categories of Iranian music shows that ignoring conceptual boundaries and aesthetic dimensions can lead to an inaccurate identity of the musical genres. In the foreign literature, frameworks have been proposed to avoid “fluidity of the concept of music”: some approaches pay attention simultaneously to the level of production, internal dimensions, and reception of music, and show that the elimination of the "internal level" in research linked to psychology and social sciences leads the study towards one-sided interpretations; On the other hand, studies related to cultural diversity explain that music is a cultural-historical phenomenon with variable meanings in different contexts, but this form of social fluidity should be distinguished from conceptual fixation at the research level. Studies of the cultural history of music also emphasize the necessity of a balance between the two aesthetic and structural contexts. In sum, research that systematically examines how interdisciplinary studies deal with the concept of music is rare; a gap that the present research seeks to address. Research Method: This research is organized with a qualitative approach and based on discourse analysis and conceptual comparison. The study proceeds in three main steps: In the first one, the distinction between the everyday and scientific use of the word music is explained, citing theoretical opinions especially by Nattiez. In the second step, four scientific articles in the fields of “Cultural History and Politics”, “Psychology and Criminology”, “Theory of Text and Transtextuality”, and “Historical Musicology of Iran” have been purposefully selected to examine how they conceptualize music. Finally, by analyzing these examples, the extent of their reliance on specialized knowledge of music and the way in which concepts are transferred from non-musical fields to the field of music are examined in order to determine whether music is considered as a systematic sound structure or merely functions as a fluid and discourse-dependent concept. Research Results: The analysis of the selected articles shows that the lack of accurate understanding of the nature and internal logic of music causes this art to become a fluid concept dependent on the entirety of the text; in such a way that, depending on the context, music is reduced to a political tool, psychological stimulus, literary text or cultural thing. The fundamental finding of the research indicates that the common features of these deviations are the fading or elimination of the “internal level” or the sound structure, and the dominance of everyday language over scientific one. This fluidity, which results from the shift between different definitional levels from ideological sign to lived experience, distorts the validity of the articles’ findings. Therefore, specialized musicological knowledge needs to be given greater weight in interdisciplinary studies in order to provide a more definite path for the scientific advancement of various aspects of music in the future. موسیقی در مباحث تخصصی خود دارای مفاهیم نظری، نظام‌های تحلیلی و واژگان علمی مشخص است، اما هم‌زمان پدیده‌ای اجتماعی نیز است که در زندگی روزمره، انواع مختلفی از آن شنیده می‌شود و افراد دربارۀ آن صحبت می‌کنند. این دوگانگی گاهی نوعی سیالیت مفهومی را به‌بار می‌آورد و موضوع زمانی چالش‌انگیز می‌شود که پژوهش‌هایی از حوزه‌های مختلف علوم انسانی مانند روان‌شناسی و جامعه‌شناسی، موسیقی را به‌عنوان موضوع یا متغیّر تحلیلی به‌کار می‌گیرند. در چنین پژوهش‌هایی انتظار می‌رود که این هنر هم‌تراز حوزۀ دیگر بر پایۀ درکی تخصصی و روش‌مند تحلیل شود، اما گاهی صرفاً در سطح تجربۀ زیسته یا کاربرد زبان روزمره باقی می‌ماند و محتوای پژوهش را با چالش روبه‌رو می‌سازد؛ یعنی ویژگی‌های موسیقی عموماً دچار ابهام می‌شود و این سؤال را پیش می‌کشد که چگونه نبود دانش تخصصی موسیقی‌شناختی در برخی مطالعات میان‌رشته‌ای، منجر به تقلیل‌گرایی و سیالیّت ناموجه در معنا و مفهوم موسیقی می‌شود؟ برای پاسخ به این پرسش، پژوهش حاضر با رویکردی کیفی و بر پایۀ تحلیل گفتمان و مقایسۀ مفهومی، چهار مقاله از حوزه‌های مرتبط را به‌صورت هدفمند مورد مطالعه قرار می‌دهد. نتایج نشان می‌دهد که نبود شناخت دقیق از ماهیت و منطق درونی موسیقی، موجب می‌شود این هنر به مفهومی سیال و وابسته به کلیت متن تبدیل شود و بار معنایی آن مبهم باقی بماند. این سیالیّت بیش از آنکه ناشی از سادگی یا پیچیدگی ذاتی این هنر باشد، از انتقال ناآگاهانۀ کاربردهای روزمره و غیرعلمی واژۀ موسیقی به فضای چنین مطالعاتی حاصل می‌شود یا بر اثر عدم وجود نگاه روش‌مند پژوهشی بروز می‌کند. بنابراین لازم است دانش تخصصی موسیقی‌شناختی هرچه بیشتر در پژوهش‌های میان‌رشته‌ای مورد توجه قرار گیرد تا در آینده مسیر مشخص‌تری برای پیشبرد علمی جنبه‌های گوناگون موسیقی فراهم شود.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Exploring the relationship between the capabilities of Applied Arts education and the development of creative thinking (From the perspective of academic experts and experts) واکاوی ارتباط قابلیت‌های آموزش هنرهای صناعی با پرورش تفکر خلاق در آموزش عالی: مطالعه کیفی براساس مصاحبه با متخصصان و صاحب‌نظران دانشگاهی 9822 10.22124/ira.2026.33993.1121 FA معصومه فرخی دانشجوی دکتری دانشگاه هنراسلامی تبریز، تبریز، ایران شهریار شکر پور استادیار گروه هنر اسلامی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، ایران مجید ضیایی عضو هیات علمی دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران محبوبه البرزی استاد تمام دانشکده علوم تربیتی و روانشناسی، بخش مبانی تعلیم و تربیت، دانشگاه شیراز، شیراز، ایران Journal Article 2026 06 22 Abstract: This qualitative study explored the relationship between the educational capacities of applied arts and the development of creative thinking. Data were collected through semi-structured interviews with 19 university professors, researchers, and professionals in the field of applied arts and analyzed using thematic analysis. The findings identified 106 basic themes, 13 organizing themes, and four overarching themes: form, function, meaning, and essence. Results revealed that applied arts provide a multidimensional and interdisciplinary environment where aesthetic, technical, material, cultural, and economic dimensions interact dynamically. Such characteristics foster creative thinking by encouraging problem-solving, innovation, reflection, and the integration of ideas with practical experience. The study concludes that applied arts serve as a powerful platform for the cultivation and expression of creative thinking, as the creative process emerges through the interaction of thought, skill, materials, and lived experience: thought, skill, practical experience, materials, and everyday life. Therefore, the arts can be considered one of the most objective areas of expression of creative thinking; an area in which ideas, skills, and meaning are simultaneously formed and crystallized in the form of works of art. Applied arts are inherently multidimensional and interdisciplinary, integrating aesthetic, technical, material, cultural, economic, and innovative elements. This dynamic interaction creates a strong foundation for the development of creative thinking. The study shows that artistic creation is not merely a mental activity but emerges through the interplay of ideas, skills, practical experience, materials, and everyday life. Therefore, applied arts can be regarded as one of the most effective and tangible domains for fostering and expressing creative thinking. Background: Research has been conducted in line with the present study. Some have addressed the structure, effectiveness, and challenges of art education or creative thinking in pre-university education, and others have investigated creative thinking in higher art education and problem-solving skills. Previous studies have highlighted various dimensions of art education and creative thinking across different educational contexts. Research has emphasized the evolving role of art education beyond technical training toward a multidimensional system encompassing cultural, social, economic, and entrepreneurial aspects. Studies have shown that multiculturalism, social participation, competency-based curricula, and integrated theory-practice approaches can enhance the quality of art education. Recent findings also indicate that creative thinking is a key twenty-first-century competency, fostered through student-centered, interactive, and project-based learning methods. Furthermore, emerging technologies such as artificial intelligence have expanded opportunities for collaborative creativity and aesthetic experiences. Research on mindset has demonstrated that students who believe creativity can be developed exhibit higher levels of creative thinking and motivation. Overall, the literature suggests that effective art education provides a supportive environment for innovation, problem-solving, and the development of creative thinking through the integration of practical skills, theoretical knowledge, and cultural understanding. Objectives: The present study aimed to explain and analyze the relationship between the educational capabilities of applied arts and the development of creative thinking from the perspective of academic experts and practitioners. Method: This applied qualitative study explored the relationship between applied arts education and the development of creative thinking. Data were collected through semi-structured interviews with 19 university professors, specialists, researchers, and practitioners in the field of applied arts, selected through purposive sampling based on the principle of theoretical saturation. The interviews, lasting approximately 45–60 minutes, focused on the role of applied arts education in fostering creativity and creative thinking. Data were analyzed using thematic content analysis following the Attride-Stirling approach. The analysis involved coding interview transcripts, identifying basic themes, grouping them into organizing themes, and developing overarching themes through a thematic network model. To ensure the trustworthiness and credibility of the findings, member checking, audit procedures, and multiple data collection strategies were employed. Result: The results of the thematic network analysis showed that the arts have broad and multidimensional capacities for developing creative thinking and can be considered as one of the important areas of creative education in higher education. The conceptual structure extracted from the data, consisting of 106 basic themes, 13 organizing themes, and 4 overarching themes, showed that creative thinking in the arts is a multilayered and systematic phenomenon that is formed by the interaction of diverse cognitive, aesthetic, technical, cultural, economic, and semantic factors. The research findings indicate that many of the extracted basic themes, including innovation, diversity, questioning, problem solving, reasoning, inspiration from nature, extensibility, overcoming limitations, and the need for novelty, are directly related to creative thinking processes. These themes show that the arts are not static in nature and are based solely on the repetition of traditional skills, but are a dynamic arena for experimentation, exploration, re-creation, and the creation of new solutions. From this perspective, the production and education process in the arts is always accompanied by a kind of creative encounter with problems, materials, forms, and functions. The analysis of the organizing themes also showed that the capacities for cultivating creative thinking in arts are distributed in various dimensions such as aesthetics and visual structure, materials, execution techniques, economic function, knowledge transfer, culture, and practical experience. This finding indicates that the cultivation of creative thinking in arts is not limited to a specific component or skill, but is the result of the interaction of a network of various elements and processes. In fact, creative thinking in this area is formed when an individual can establish a meaningful connection between knowledge, skills, experience, practical needs, and cultural values. Conclusion: The results of the thematic network analysis showed that the arts have broad and multidimensional capacities for developing creative thinking and can be considered as one of the important areas of creative education in higher education. The findings revealed that applied arts possess significant multidimensional capacities for fostering creative thinking. The thematic analysis identified 106 basic themes, 13 organizing themes, and four overarching themes: form, function, meaning, and essence. Results indicated that creativity in applied arts emerges through the interaction of cognitive, aesthetic, technical, cultural, economic, and experiential factors. Key themes such as innovation, problem-solving, questioning, diversity, reasoning, and overcoming limitations highlighted the dynamic and exploratory nature of artistic practice. The findings further demonstrated that creative thinking is nurtured through the integration of knowledge, skills, practical experience, cultural values, and real-world needs. Overall, the study suggests that applied arts education extends beyond technical skill development and provides a powerful platform for cultivating creativity, innovation, and adaptive problem-solving abilities. Consequently, greater emphasis on creativity-oriented approaches in curriculum design, teaching practices, and educational policies can contribute to preparing innovative and capable graduates for the challenges of the contemporary world. هنرهای صناعی با وجود ظرفیت‌های آموزشی و خلاقانه، در آموزش رسمی بیشتر به‌صورت مهارت‌آموزی دیده شده‌اند و ارتباط آن‌ها با پرورش تفکر خلاق به‌طور دقیق تبیین نشده است. ازاین‌رو، پژوهش حاضر با هدف تبیین و تحلیل ارتباط میان قابلیت‌های آموزشی هنرهای صناعی و پرورش تفکر خلاق از دیدگاه متخصصان و صاحب‌نظران دانشگاهی انجام شده است و می‌کوشد نشان دهد هنرهای صناعی از دیدگاه متخصصان دانشگاهی چگونه می‌توانند بستری برای تقویت خلاقیت، حل مسئله و نوآوری باشند. این پژوهش از نوع کیفی بوده و با بهره‌گیری از روش تحلیل مضمون به بررسی ابعاد مختلف این موضوع پرداخته است. مشارکت‌کنندگان پژوهش به شیوه نمونه‌گیری هدفمند و براساس معیار اشباع نظری انتخاب شدند. در نهایت 19 نفر در فرایند پژوهش مشارکت داشتند. نتایج تحلیل داده‌ها به شناسایی 106 مضمون پایه، 13 مضمون سازمان‌دهنده و 4 مضمون فراگیر منجر شد. مضامین پایه شامل مفاهیمی نظیر تنوع، الهام از طبیعت، حل مسئله، پرسش‌گری، خوداندیشی، خردورزی، قابلیت توسعه، نوآوری و عبور از محدودیت‌ها بودند. این مضامین در قالب مضامین سازمان‌دهنده‌ای همچون زیبایی‌شناسی و ساختار بصری، ماده و مواد اولیه، فنون اجرایی، کارکرد اقتصادی، انتقال دانش و علوم، فرهنگ و تجربه زیسته سامان یافتند. در نهایت، مضامین فراگیر در چهار حوزه کلان «صورت»، «کارکرد»، «معنا» و «ذات» طبقه‌بندی شدند. یافته‌های پژوهش نشان داد که هنرهای صناعی واجد ماهیتی چندبعدی و میان‌رشته‌ای هستند که در آن مؤلفه‌های زیبایی‌شناختی، مادی، فنی، اقتصادی، فرهنگی و نوآورانه در تعامل مستمر با یکدیگر قرار دارند. این ویژگی‌ها بستری مناسب برای رشد و پرورش تفکر خلاق فراهم می‌کنند؛ زیرا فرایند آفرینش در هنرهای صناعی تنها به فعالیت ذهنی محدود نمی‌شود، بلکه در پیوندی پویا میان اندیشه، مهارت، تجربه عملی، مواد و زندگی روزمره تحقق می‌یابد. ازاین‌رو، هنرهای صناعی را می‌توان یکی از عینی‌ترین عرصه‌های تجلی تفکر خلاق دانست؛ عرصه‌ای که در آن ایده، مهارت و معنا به‌صورت همزمان شکل گرفته و در قالب آثار هنری متبلور می‌شوند.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Investigating the Effect of Ultrasonic Technology on the Dyeing Quality of Wool Pile Yarn Using Henna and Pomegranate Peel Dyes in Handwoven Carpets مطالعه و تحلیل تأثیر فناوری آلتراسونیک بر کیفیت رنگرزی نخ پرز پشمی با رنگزاهای حنا و پوست انار در فرش دستباف 9821 10.22124/ira.2026.33970.1120 FA شیما ناصریان دانش آموخته کارشناسی ارشد فرش، گروه فرش، دانشکده هنر و معماری، دانشگاه علم و هنر، یزد، ایران محمد خواجه مهریزی دانشیار دانشکده مهندسی نساجی، دانشگاه یزد، یزد، ایران سید محمود طباطبایی هنزایی دانشکده هنر، دانشگاه علم و هنر، یزد، ایران Journal Article 2026 06 21 Introduction: Natural dyeing is one of the central technical and aesthetic foundations of the Iranian handwoven carpet. In this context, color is not merely a surface quality applied to wool yarn; it contributes to the visual identity of the carpet and to the material quality of the finished object. Wool yarn, as a major material in handwoven carpets, has a decisive role in receiving, retaining, and displaying color. Therefore, any attempt to improve the dyeing behavior of wool yarn must be evaluated as both a textile process and a factor affecting the chromatic quality of the Iranian carpet. In recent decades, environmental concerns, the high ecological cost of synthetic colorants, and renewed attention to natural colorants have encouraged researchers to reconsider plant-based dyes. Nevertheless, the practical use of natural dyes still faces limitations such as process variability, insufficient reproducibility of shade, dependence on dye source and mordanting conditions, and differences in color strength and fastness. Ultrasonic treatment has been introduced in textile coloration as an auxiliary technology that may intensify mass transfer, facilitate the penetration of dye molecules into fibers, reduce processing time, and improve dyeing efficiency. However, its effectiveness is not fixed or universal; it depends on the chemical nature of the dye, the structure of the fiber, bath pH, temperature, concentration, mordanting, and the overall dyeing method. The present study investigates this problem through the dyeing of handwoven carpet wool yarn with two plant-based dyes, henna and pomegranate peel, under conventional and ultrasonic conditions. Accordingly, the research questions are as follows: how does ultrasonic treatment affect the dyeing behavior of handwoven carpet wool yarn dyed with henna and pomegranate peel; how is this effect reflected in color strength, CIELAB coordinates, and fastness properties; and should ultrasonic dyeing be considered superior to conventional dyeing or interpreted as a condition-dependent auxiliary process? Literature review: Previous studies on natural dyeing emphasize that plant dyes can contribute to environmentally responsible textile coloration, but their successful use requires careful control of processing variables. Research on wool dyeing with madder, lac, pomegranate peel, and other natural sources has shown that color strength and fastness are strongly influenced by the chemical structure of the dye, the mordant, the acidity or alkalinity of the bath, and the duration and temperature of dyeing. Studies on ultrasonic-assisted dyeing have also indicated that acoustic cavitation can enhance diffusion and accelerate dye-fiber interactions in some cases. At the same time, these studies warn against assuming the automatic superiority of ultrasonic treatment, because different dyes respond differently to sonication. Within the context of carpet studies, the assessment of dyeing is not limited to K/S values or laboratory measurements, but also concerns visual harmony, shade reproducibility, material behavior, and color fastness in wool yarn. Henna and pomegranate peel are particularly relevant in this regard, because both produce warm and earthy color ranges that suit the aesthetic character of the Iranian handwoven carpet. Methodology: This research is applied-developmental in purpose and experimental in method. Wool yarn samples used for handwoven carpets were dyed with henna and pomegranate peel dyes under controlled laboratory conditions. The experimental design compared conventional dyeing and ultrasonic-assisted dyeing while considering dye type, dyeing method, bath pH, temperature, dye concentration, and aluminum sulfate mordanting. After dyeing, the samples were evaluated through instrumental and standard tests. Color strength was measured using the K/S index, and colorimetric characteristics were analyzed within the CIELAB system in order to determine changes in lightness, redness-greenness, yellowness-blueness, and overall shade behavior. Light fastness and washing fastness were examined to assess the practical durability of the dyed yarns. In addition, scanning electron microscopy (SEM) was used to observe surface changes in wool fibers after dyeing, and Fourier-transform infrared spectroscopy (FTIR) was applied to identify possible interactions among wool fiber, mordant, and natural dye compounds. This combination of colorimetric, fastness, microscopic, and spectroscopic analyses made it possible to interpret the results both technically and in relation to the artistic application of naturally dyed wool yarn in handwoven carpets. Findings: The findings show that ultrasonic treatment did not necessarily increase color strength in all dyeing conditions. In pomegranate peel dyeing, the dyeing method had a significant effect on K/S values, and in some samples the conventional method produced higher color strength, especially under acidic conditions and higher temperatures. This result suggests that the tannin-rich structure of pomegranate peel may interact effectively with wool and mordant under conventional thermal conditions, and that sonication does not automatically improve this interaction. In henna dyeing, the difference between conventional and ultrasonic methods was not statistically strong enough to prove the clear superiority of the ultrasonic method. Across both dyes, bath pH played a decisive role, and acidic conditions generally produced more favorable color strength and more stable dyeing behavior. The CIELAB results confirmed that the final shades were affected by dye type, process conditions, and the interaction between dye molecules and wool fiber. The SEM observations indicated visible surface modifications in dyed wool fibers, while FTIR spectra supported the presence of interactions between natural dye compounds, aluminum sulfate mordant, and the functional groups of wool. The fastness results were generally acceptable for handwoven carpet yarns, although they varied according to dye type and dyeing conditions. Conclusion: The study concludes that ultrasonic technology should be regarded as a conditional auxiliary method rather than a universally superior substitute for conventional natural dyeing. Its effectiveness depends on the dye source, bath pH, temperature, concentration, mordanting, and fiber structure. Henna and pomegranate peel can be used as natural dyes for handwoven carpet wool yarn, but their dyeing behavior must be controlled carefully to achieve desirable color strength, chromatic quality, and fastness. Thus, the value of ultrasonic treatment lies in its potential to improve or regulate some processing conditions, not in replacing the conventional dyeing method in all cases. The findings also show that the interpretation of ultrasonic dyeing must be based on the simultaneous reading of K/S, CIELAB coordinates, fastness results, SEM observations, and FTIR spectra. رنگرزی خامه پشمی فرش دستباف از نظر کیفیت بصری، خوانایی فام، قدرت رنگی و دوام رنگ در محصول نهایی اهمیت دارد. با وجود جایگاه رنگزاهای طبیعی در فرش ایرانی، کاربرد حنا و پوست انار در رنگرزی پشم همچنان با دشواری‌هایی مانند کنترل فرایند، تکرارپذیری فام، وابستگی به pH و دما، و دست‌یابی هم‌زمان به قدرت رنگی و ثبات مناسب همراه است. از سوی دیگر، آلتراسونیک به‌عنوان فناوری کمکی می‌تواند انتقال جرم و نفوذ رنگزا را دگرگون کند؛ اما روشن نیست که در رنگرزی خامه پشمی با این دو رنگزای گیاهی، همواره به بهبود نتیجه منجر می‌شود یا اثر آن به شرایط حمام و نوع رنگزا وابسته است. پرسش اصلی پژوهش این است که فناوری آلتراسونیک چه تأثیری بر رفتار رنگرزی خامه پشمی فرش دستباف با رنگزاهای حنا و پوست انار دارد؟ هدف پژوهش، مقایسه رفتار رنگرزی خامه پشمی فرش دستباف با حنا و پوست انار در دو روش متداول و آلتراسونیک است. پژوهش کاربردی ـ توسعه‌ای و تجربی است. نمونه‌های خامه پشمی با رنگزاهای حنا و پوست انار، در شرایط مختلف pH، دما و غلظت رنگزا و با دندانه سولفات آلومینیوم رنگرزی شدند. براساس یافته‌ها، آلتراسونیک در همه شرایط موجب افزایش معنادار قدرت رنگی نمی‌شود. در پوست انار، اثر روش رنگرزی بر K/S معنادار بود و در برخی شرایط، روش متداول قدرت رنگی بیشتری ایجاد کرد. در حنا، تفاوت دو روش از نظر K/S معنادار نبود؛ اما در هر دو رنگزا، pH حمام رنگ نقش مؤثری داشت و محیط اسیدی عملکرد مناسب‌تری نشان داد. نتایج نشان می‌دهد که آلتراسونیک در رنگرزی طبیعی نقش یک فناوری کمکی و وابسته به شرایط فرایند را دارد، نه روشی که در همه موارد جایگزین قطعی رنگرزی متداول باشد. در پوست انار، ماهیت تاننی رنگزا و شرایط اسیدی حمام نقش مهمی در افزایش قدرت رنگی داشت و در حنا نیز pH اثر تعیین‌کننده‌تری نسبت به نوع روش رنگرزی نشان داد. بنابراین، کاربرد موفق این فناوری در رنگرزی خامه پشمی نیازمند کنترل هم‌زمان رنگزا، pH، دما، دندانه و ویژگی‌های لیف است.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 2 2026 09 23 Study and Understanding of Style in the Paintings of Mohsen Vaziri Moghaddam Based on Kandinsky's Theories بررسی و شناخت سبک درآثار نقاشی محسن وزیری‌مقدم براساس نظریه کاندینسکی درباب هنر انتزاعی 9750 10.22124/ira.2026.33428.1089 FA احد روان جو استادیار گروه گرافیک، دانشکده هنر شوشتر، دانشگاه شهید چمران اهواز، اهواز، ایران Journal Article 2026 05 02 Background: The identification of artistic trends and events in the classifications of art history is done with styles, schools, and movements, and it brings with it the introduction of artists and their diverse styles. Classification in the study of art became common in the course of history in the 18th century, and the term "style" was used specifically. Winckelmann was the first critic to examine works in order to classify and recognize the classical art of ancient Greece and Rome based on "style". Since then, art historians have created a method for studying works of art based on "stylology". In examining style among artists and critics, they deal with factors such as the artist's personal skill and creativity, their mental world, semantic signs, space, characteristics, and recurring visual elements. The research method in this article is a qualitative research approach, and the method of collecting information by referring to written texts and library data. The purpose of this research is to examine the criteria for determining style in contemporary Iranian artworks and the criteria for determining the style of Mohsen Vaziri Moghadam based on the perspective of the modern art theorist, the creator of the abstract style, Wassily Kandinsky. What the author of the article has achieved is that: After examining the works of Mohsen Vaziri Moghadam based on Kandinsky's ideas, he shows that Kandinsky has interpretations of art as material art and immaterial art, and in fact, he considers immaterial art (content) to be preferable to material art (form) and believes that art should have the meaning and spirit of its time and try to arouse the aesthetic feelings of the audience with color and form. Something that can be seen to a large extent in the paintings of Mohsen Vaziri Moghadam. The history of art has been classified in various ways by historians and art scholars, sometimes based on artistic events and sometimes on styles, schools, and movements, which has made it more understandable and accessible to researchers and artists. The classification of style in art history became common in the 18th century for its more detailed study, although it was first used in ancient times to classify and study works, and the term " style " was used. Winckelmann was the first to study works based on "style" to understand the art and civilization of ancient Greece, and since then, historians and critics have created a method for examining works of art called "stylism" so that they can gain the most knowledge of the state of art in a particular period with minimal evidence. Objectives: Style can generally be considered the patterns or distinctive characteristics of an object or a set of objects. In different philosophical thoughts, different theories of style are presented, and each movement defines it in accordance with its own intellectual frameworks, just as empiricists use style only to study the formality of works and Hegelians seek to establish a relationship between the style of works of art and the spirit of the times. What we will discuss in this discussion is how to recognize the artist's style with the help of theoretical discussions and recognition of stylistic signs, as well as examining and recognizing the characteristics that make style recognizable in the works of Mohsen Vaziri Moghadam based on Kandinsky's views on modern and abstract art. Method: In this regard, identifying the style of each artist is one of the important issues in recording their works in the history of art. However, examining and classifying the works of some artists in terms of their style and method of creating the work of art and its semantic contexts should be based on evidence and stylistic signs and the type of skill and scope of the works and the atmosphere created by the artist, aiming the work in a specific stylistic format and method, so that by recognizing and determining the limits of that method, it can be examined and analyzed more accurately. Critics often recognize the style of an artist by following the works of an artist, paying attention to the details of their work empirically, and studying the themes of the works. In this article, a number of paintings by Mohsen Vaziri-Moghaddam (a contemporary painter and sculptor) that follow his general painting style have been examined in a descriptive-analytical manner based on the theories of Kandinsky (a painter and theorist). Can Mohsen Vaziri-Moghaddam’s paintings be classified under the heading of a specific style? And considering the main issue raised in this stylistic research in contemporary Iranian painting, which examines the style in Mohsen Vaziri-Moghaddam’s paintings based on the authoritative theories of Wassily Kandinsky, we will discover Mohsen Vaziri-Moghaddam's painting style according to modern art theory. These are the questions that will be answered during the current research. Results: The historical necessity of creating a transformation in the cultural, social, and economic infrastructures in traditional societies made it clear that in order to achieve new manifestations of civilization, successful Western countries, especially Europeans, should be taken as their model. Since this cultural transformation and upheaval in Iran was carried out without paying attention to the real issues and needs of society, many Iranian cultural intellectuals engaged in superficial imitation of the achievements of Western culture to compensate for the country's accumulated backwardness. In this way, modernism entered Iranian society superficially, without having a logical background and cultural context. Before the arrival of the cultural and artistic manifestations of modernism in Iran in the contemporary period, the Kamal al-Mulk School was considered the representative of the country's official art, which itself was one of the manifestations of Western art that influenced the mentality of Iranian artists. The views and methods of the students who were educated in the Kamal al-Mulk School dominated the field of Iranian painting for years. With the establishment of the Faculty of Fine Arts at the University of Tehran, the absolute dominance of the artistic views of the Kamal al-Mulk School in the education of visual arts was reduced. The atmosphere that dominated art, especially painting, was opposed to modernist movements in art, despite the presence of many people who believed in naturalism and realism. شناخت جریانات و رویدادهای هنری در طبقه‌بندی‌های تاریخ هنر با سبک‌ها و مکاتب و جنبش‌ها انجام می‌شود و به‌دنبال خود معرفی هنرمندان و سبک های متنوع آنان را به‌همراه می‌آورد. طبقه‌بندی در مطالعه هنر در روند تاریخ در قرن هجدهم رایج و از واژه «سبک» به‌طور ویژه استفاده شد. وینکلمان نخستین منتقدی بود که برای طبقهبندی و شناخت هنر کلاسیک یونان‌ و روم باستان بر اساس «سبک» آثار را بررسی‌کرد. از آن‌ پس تاریخ نگاران هنر شیوهای برای مطاله آثار هنری براساس «سبک‌شناسی» پدید ‌آوردند. در بررسی سبک نزد هنرمندان و منتقدین، به عواملی چون مهارت و خلاقیت شخصی هنرمند، جهان ذهنی او، نشانههای معنایی، فضا، ویژگیها و عناصر بصری تکرار شونده میپردازند. پرسش اصلی پژوهش حاضر چنین است: کیفیات بصری سبک انتزاعی براساس نظریه کاندینسکی در آثار انتزاعی محسن وزیریمقدم چگونه است؟ مؤلفه‌های تجسمی این آثار کدام است؟ روش تحلیل داده‌ها در این پژوهش، کیفی است و از شیوه گردآوری اطلاعات از راه رجوع به متن‌های مکتوب و دادههای کتابخانه‌ای به توصیف و تحلیل موضوع پرداخته شده ‌است. هدف این پژوهش بررسی معیارهای تعیین سبک در آثار هنری معاصر ایران و معیارهای تعیین سبک محسن وزیریمقدم براساس دیدگاه کاندینسکی نظریهپرداز هنر مدرن، پیرو سبک آبستره به خلق اثر است. بر اساس یافته‌های تحقیق، آثار محسن وزیری‌مقدم براساس آراء کاندینسکی نشان می‌دهد که کاندینسکی تعابیری از هنر با عنوان هنرمادی و هنرغیرمادی دارد و در ‌واقع هنر غیرمادی (محتوا‌گر) را بر هنر مادی (صورت‌گر) ارجح می‌داند و معتقد ‌است هنر باید دارای معنا و روح زمانه خویش باشد و با رنگ و فرم سعی در برانگیختن احساسات زیبایی‌شناختی مخاطبان داشته‌ باشد؛ چیزی که تا حد زیادی در آثار نقاشی محسن وزیری‌مقدم مشاهده می‌شود.