مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Analyzing the image of the meeting of Ardeshir and Gulnar in the Shahnameh of Baysangri and Tahmasbi (based on the aspect of transformation based on the perspective of structuralism) تحلیل نگاره دیدار اردشیر و گلنار شاهنامه بایسنقری و تهماسبی (با تکیه‌بر جنبه دگرگونی مبنی بر دیدگاه ساختارگرایی) 701498 10.30508/fhja.2023.1986454.1150 FA محبوبه ذباح پژوهش هنر/فردوس مشهد/ایران مصطفی لعل شاطری مصطفی لعل شاطری/ استاد مدعو، گروه باستان‌شناسی و تاریخ، دانشکده ادبیات و علوم انسانی، دانشگاه دولتی نیشابور، ایران Journal Article 2024 11 30 An Analysis of the Illustration of the Encounter Between Ardeshir and Golnar in the Baysonghori and Tahmasbi Shahnamehs: A Structuralist Approach to the Concept of Transformation Mahbubeh Zabbah, M.A. student in Art Studies, Ferdows Higher Education Institute, Mashhad, Iran. Dr. Mostafa La’l Shateri, Assistant Professor, Department of Archeology and History, Faculty of Literature and Humanities, University of Neyshabur, Neyshabur, Iran. Problem Statement Following the creation of Ferdowsi’s Shahnameh, this monumental literary work—with its consistent structure and codified system—has consistently attracted the attention of artists across various periods. Despite its literary importance, illustrated versions of the Shahnameh did not appear immediately. For centuries after its composition, the Shahnameh circulated in manuscript form without visual representations. It was only during the Ilkhanid era that the first illustrated versions began to emerge, marking a turning point that allowed Ferdowsi's poetry to serve as fertile ground for visual interpretation and illustration in subsequent versions of the manuscript. From this point forward, illustrators began to model their visual creations on Shahnameh’s epic tales. These artists strove not only to make the narratives more accessible and easily understandable through imagery but also to maintain fidelity to the core structure and inner relationships embedded within the original poetic form. The outcome of this endeavor is a profound and enduring bond between Persian literature and Persian miniature painting. One particular episode—the romantic and intimate encounter between Ardeshir and Golnar—stands out as a compelling case for investigating this connection. In this regard, two miniature paintings titled “The Encounter of Ardeshir and Golnar,” from the Baysonghori and Tahmasbi manuscripts of the Shahnameh, serve as primary visual interpretations of this narrative. These illustrations, although derived from the same textual origin, diverge in visual composition and symbolic representation, shaped by both the artists' creative minds and the socio-political climates in which they were created. In these illustrated manuscripts, a dynamic, reciprocal relationship unfolds: between the poet (Ferdowsi), the illustrator (as an interpreter and visual translator), and the audience (as viewers and readers). Although these illustrations are separated by centuries from Ferdowsi himself in both time and cultural context, they remain indebted to his foundational poetic vision. This study seeks to explore the stable narrative pattern presented in Ferdowsi’s Shahnameh and the visual transformations observed in the two aforementioned versions. The concept of transformation in structuralist theory is employed as a theoretical framework to analyze how these shifts manifest in visual language. According to structuralist thought, any visual representation that unfolds sequentially in time and carries narrative content possesses a core structure that may be subject to transformation due to various internal or external influences. If we assume that Ferdowsi’s narrative functions like a room—composed of a specific structure and a fixed layout—then, from a structuralist perspective, the integrity of this structure should remain unchanged across periods and through different artistic interpretations. Alterations, if present, should occur only in external, composition-based elements such as the arrangement of figures or color palettes, akin to moving the furniture within the room rather than altering its foundational walls. Thus, internal elements of the narrative—characters, events, themes—should remain constant. However, historical reality tells a different story. As Shahnameh's tales were illustrated across different dynasties, these visual renderings were influenced by political, religious, and social norms. Ideological contexts of the time, the personal beliefs of commissioning patrons—often monarchs—and the unique stylistic preferences of individual illustrators all played pivotal roles in shaping the final images. The act of illustration in this context becomes akin to translation: a form of creative reproduction that relies on the illustrator’s interpretive choices and level of transformative involvement. Research Objective The first illustrated Shahnamehs appeared during the Ilkhanid era, marking the beginning of a long tradition of visual engagement with Ferdowsi’s poetry. The subject of this study, the depiction of “The Encounter Between Ardeshir and Golnar,” appears in both the Baysonghori and Tahmasbi Shahnamehs. While inspired by the same verses, the two miniatures diverge in their visual language and expression, reflecting notable changes that warrant scholarly investigation. This research aims to analyze and compare the transformative shifts in the illustration of this narrative, to uncover its deep structure. Research Question How did the illustrators of the Baysonghori and Tahmasbi Shahnamehs, through the lens of transformation, visually reinterpret the narrative of Ardeshir and Golnar? Research Methodology Methodologically, this paper is descriptive in execution and falls within the category of fundamental research. Data collection is conducted through library research, note-taking, and visual observation. The statistical population consists of two miniatures, “The Encounter of Ardeshir and Golnar,” selected purposefully and non-randomly from the Baysonghori and Tahmasbi Shahnamehs. The analytical approach is qualitative, drawing on a structuralist framework centered on the concept of transformation. The research investigates how internal and external elements of the narrative change visual representation. Research Findings The findings suggest that both illustrations exhibit internal and external transformations in the original poetic narrative. These shifts include omission, addition, expansion, displacement, reduction, and substitution. Various factors—such as prevailing political, military, social, and religious norms; the ideological orientations of commissioning patrons; and the governing aesthetic principles of the Herat (Baysonghori) and Tabriz (Tahmasbi) schools—have significantly influenced these visual transformations. Furthermore, the personal styles and aesthetic preferences of the two illustrators shaped the visual form and interpretative content of the scenes, resulting in distinct receptions of the same narrative. For example, the omission of the climactic moment—when Ardeshir and Golnar become lovers—and the mutual gaze between Ardeshir and the servant girl Golnar constitutes a fundamental internal transformation. This omission distorts the characters’ identities, the narrative setting, and the thematic substance, to the extent that it risks confusing this story with other romantic episodes in the Shahnameh, such as that of Zal and Rudabeh. Additionally, the substitution of Timurid-era Mongol facial features for the characters of Ardeshir and Golnar in the Baysonghori miniature, while not undermining the narrative’s essence, constitutes an external transformation. Similarly, in the Tahmasbi version, the addition of Shah Tahmasp’s figure and Qur’anic inscriptions above the palace contributes to structural changes in the visual context, reflecting Safavid religious ideologies. Ultimately, in response to the central research question, the study concludes that while the illustrators of the Tahmasbi version remained more faithful to the narrative structure, both versions demonstrate structural transformations influenced by internal and external factors. Conclusion and Future Implications The investigation highlights the complexity and interpretive richness of illustrating classical Persian texts. The theoretical framework of structuralism, particularly the concept of transformation, proves effective in identifying and analyzing the shifts that occur when literary narratives are adapted into visual form. This model can be extended to examine other illustrated texts derived from scholarly sources, offering new insights into the interplay between literature and visual culture in Persian art history. بیان مسئله: در دورۀ ایلخانان، نخستین نسخ مصور شاهنامه تولید شد و اشعار فردوسی، زمینه‌ای مناسب برای تصویرسازی قرار گرفت. موضوع نگارۀ «اردشیر و گلنار» در شاهنامۀ بایسنقری و تهماسبی، الهام گرفته از اشعار فردوسی است که در هر دو نسخه یکسان است؛ اما نگاره‌ها تفاوت‌هایی دارند که به ‌دلیل داشتن تغییرات در بیان بصری حائز اهمیت هستند. هدف پژوهش: پژوهش حاضر باهدف تحلیل و مقایسه دگرگونی‌های تصویرسازی نگاره‌ها می‌خواهد ژرف-ساخت داستان را آشکار کند. سؤال پژوهش: نگارگران با تکیه بر مفهوم دگرگونی، چگونه داستان اردشیر و گلنار را به تصویر کشیده‌اند؟ روش پژوهش: این پژوهش از نوع پژوهش‌های توصیفی – تحلیلی است. گردآوری اطلاعات، با استفاده از روش کتابخانه‌ای و ابزار فیش‌برداری و مشاهده صورت می‌گیرد. شیوۀ تحلیل در این پژوهش، کیفی است و از رویکرد ساختارگرایی با تکیه بر نظریه ساختارگرایی استفاده می‌شود. نتیجه‌گیری: نتایج این پژوهش نشان می‌دهد که هر دو نگاره در تطبیق با شاهنامه فردوسی دچار دگرگونی ساختاری هستند. در این امر، دلایلی همچون متأثر شدن از هنجارهای سیاسی، نظامی، اجتماعی و مذهبی همچون شرایط ایدئولوژیک حاکم بر زمانه و زمینه و اعتقادات شخصی پادشاهان به‌عنوان سفارش‌دهندگان و مکاتب حاکم بر نگارگری (مکتب هرات در شاهنامه بایسنقری و مکتب تبریز در شاهنامه تهماسبی) مؤثر بوده‌اند. همچنین سبک شخصی دو نگارگر در بروز ویژگی‌های صوری و محتوایی، سبب ایجاد دریافت متفاوت از اصل داستان فردوسی شده است. این امر حاکی از نوعی دگرگونی ساختاری در عوامل بیرونی و درونی از قبیل حذف صحنه اوج داستان و تقلیل زیبایی گلنار و اردشیر به‌وسیله جانشین‌سازی چهره‌های مغولی دوران تیموری در نسخه بایسنقری است. اضافه شدن شخصیت شاه‌تهماسب و آیه قرآن بر کاخ نگاره سبب دگرگونی ساختاری بیرونی در نسخه تهماسبی شده است. واژگان کلیدی: دیدار اردشیر و گلنار، شاهنامه بایسنقری، شاهنامه تهماسبی، ساختارگرایی، دگرگونی

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مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Analyzing the effective indicators on promoting happiness in the coworking space واکاوی شاخص های مؤثر بر ارتقای شادی در فضای کار اشتراکی 711611 10.30508/fhja.2024.2021547.1178 FA سیده مریم مجتبوی استادیار گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران یگانه پوستچینیان دانشجوی کارشناسی ارشد معماری داخلی، گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران. Journal Article 2024 01 29 Exploring the Key Indicators Influencing the Enhancement of Happiness in Coworking Spaces Seyyedeh Maryam Mojtabavi, Ph.D., Assistant Professor, Department of Architecture, Ferdows Higher Education Institute, Mashhad, Iran. Yeganeh Poustchiniyan, M.A. student in Interior Architecture, Department of Architecture, Ferdows Higher Education Institute, Mashhad, Iran. Problem Statement: The relationship between architecture and happiness is a significant topic, as designers and architects can contribute to creating more pleasant environments for everyone. From strategies to improve mental health in coworking spaces to ways architecture can help prevent cognitive decline, understanding the potential impact of environmental neuroscience and the methods it applies in architecture is an essential skill for our profession. Burnout syndrome is a professional phenomenon caused by chronic workplace stress and emotional tension, increasingly affecting professionals every day. This syndrome is directly linked to individuals’ daily work life, not only in terms of job functions but also the physical environment. On average, we spend one-third of our day in work environments, so it is no surprise that these spaces significantly affect our mental health (Channon, 2018, p. 3). After an intense period of remote work during 2020, people are now returning to coworking spaces. These spaces offer an excellent alternative for escaping the home environment and creating distinct zones for various life functions—a much-needed change after a year of isolation. Coworking spaces have become increasingly attractive to individuals and companies due to their numerous benefits. They provide greater flexibility, allowing individuals to work in different locations without spatial constraints. This spatial flexibility enables people to choose work environments that suit their needs and circumstances. Additionally, coworking spaces can help reduce office rental and equipment costs, offering a smarter and more cost-effective alternative to traditional work environments (Bareicheva, 2024, p. 6). Moreover, happiness in coworking spaces can lead to improved job satisfaction. Individuals working in a cheerful and friendly environment usually report higher job satisfaction. This can reduce stress and enhance morale and motivation, ultimately improving the quality of work life. Burnout syndrome is a psychological and physical condition caused by persistent stress and high pressure in the workplace. Those affected may feel a decline in their abilities and motivation for daily tasks. Research Objectives: The objectives of this research are as follows: To identify the role of happiness in coworking spaces. To explore the components of happiness in coworking spaces (Utopic, Cowan, and Holland Park). Research Questions: In line with the research objectives, the following questions are posed: What is the role of happiness components in coworking spaces? What are the design strategies for creating joyful coworking spaces? Research Methodology: The method adopted in this research is descriptive-analytical. In the first stage, theoretical foundations such as the definition of coworking space, the concept of happiness, and its components are addressed. In the analytical section, a case study approach is used to examine and analyze three coworking spaces abroad. Aspects such as comfort, nature, control, activity, aesthetics, environmental psychology, and lighting are considered significant. In the final stage, the case studies are compared with one another. The data analysis results are then compiled, and strategies for enhancing happiness in coworking spaces are presented. Research Steps: Reviewing the evolution of workspaces and defining coworking space Defining happiness and its components in coworking spaces Developing a conceptual model Analyzing selected case studies Comparing the case studies Proposing strategies for improving happiness in coworking spaces Conclusion: Today, coworking spaces are being increasingly adopted as a new work model. This phenomenon is attractive and beneficial for several reasons. First, coworking spaces provide a flexible and dynamic environment in which individuals can work freely. These spaces allow for easy communication among coworkers and the sharing of experiences and knowledge. Second, coworking spaces significantly reduce rental and related workplace costs, allowing employers to minimize fixed expenses and make the best use of available resources. In general, increased solidarity, knowledge sharing, flexibility, and cost reduction are among the reasons why individuals and companies turn to coworking spaces. Happiness in the workplace plays a crucial role and has broad effects on individuals’ morale and performance. As positive and pleasant interactions increase, so does the sense of happiness and satisfaction. This happiness can boost motivation, initiative, and creativity, ultimately improving the performance and effectiveness of teams and organizations. A work environment, despite facing professional ups and downs, can foster professional growth and strengthen interpersonal connections by cultivating a joyful and friendly atmosphere. This approach improves personal relationships, reduces stress, and increases job satisfaction, ultimately adding value to the organization. Happiness in architecture is recognized not only as a personal emotion but also as a powerful design tool. Architects, by considering psychological and human aspects in their designs, can create spaces that evoke feelings of joy and vitality. The use of light, color, and harmonious forms in buildings can help generate these positive emotions. Moreover, integrating open and green spaces into architectural design provides calm and lively environments. In conclusion, to create happiness in coworking spaces, all components of happiness must be employed. These components enable the user to design a cheerful space tailored to the user’s needs. بیان مسئله: فضاهای کار اشتراکی در دهه‌های اخیر به‌عنوان یکی از پدیده‌های مهم در جهان کار و کسب‌وکارها برجسته شده‌اند. این فضاها، مکانی هستند که افراد با تنوعی از زمینه‌ها و شغل‌ها، از کارآفرینان گرفته تا کارمندان شرکت‌های نوپا و تیم‌های کوچک، برای انجام فعالیت‌های خود و به اشتراک گذاشتن منابع از فضاهای مشترک استفاده می‌کنند. در این محیط‌ها، مفهوم شادی به‌عنوان عاملی که می‌تواند تأثیر بسزایی بر بهبود کیفیت کار و رضایت شغلی داشته باشد، حائز اهمیت است. در مقابل عدم وجود فضای کار شاد می‌تواند به مشکلات متعددی در محیط کاری منجر شود: این شرایط ممکن است باعث کاهش انگیزه و انرژی کارکنان شود که به‌تبع آن، کارکنان احساس خستگی جسمی و روانی (سندرم فرسودگی شغلی) می‌کنند و به‌سرعت از انگیزه و حوصله کاری خود از دست می‌دهند... هدف پژوهش: اهداف پژوهش حاضر عبارت‌اند از: - شناسایی نقش شادی در فضای کار اشتراکی - واکاوی مؤلفه‌های شادی در فضای کار اشتراکی (اتوپیک، کوون و هلند پارک) سؤال پژوهش: در راستای دستیابی به اهداف، سؤالات زیر مطرح می‌گردد: نقش مؤلفه‌های شادی در فضای کار اشتراکی چیست؟ چه راهکارهایی جهت طراحی فضای کار اشتراکی شاد وجود دارد؟ روش پژوهش: جمع‌آوری داده‌ها به‌وسیلة تحلیل مطالعات نمونه‌های موفق از فضاهای کار اشتراکی و تطبیق آن‌ها با شاخصه‌های معماری شاد انجام‌شده است. نتیجه‌گیری: یافته‌ها حاکی از آن است مؤلفه‌های شادی در فضای کار اشتراکی شامل: نور، راحتی، کنترل، تعلق، زیبایی‌شناسی، فعالیت و طبیعت است که به‌عنوان یک عامل افزایش اثربخشی و رضایت کارکنان شناخته می‌شوند. مؤلفه‌های شادی در معماری فضای کار اشتراکی نقش مهمی ایفا می‌کنند و به طراحان این فضاها امکان می‌دهند تا محیطی را ایجاد کنند که بر افزایش کیفیت زندگی کاری و افزایش بهره‌وری تأثیرگذار باشد... به‌طورکلی، توجه به مؤلفه‌های شادی در طراحی فضاهای کار اشتراکی، باعث بهبود اتمسفر کلان فضا و افزایش سطح راحتی و شادی برای کارکنان می‌شود. نتایج بررسی نمونه‌های موردی حاکی از آن است که: در هلند پارک نسبت به کوون و اتوپیک توجه بیشتری به مؤلفه‌های شادی شده است. هلند پارک با استفاده از مفهوم معماری باز و شفاف، فضاهای باز و سبز و استفاده از مصالح اکولوژیک، تلاش کرده است تا یک محیط کاری دوستانه و شاد را ایجاد کند.

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مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Analysis of the Works of the Fifth Generation of Japanese Graphic Artists based on Carolyn Korsmeyer's Feminist Aesthetics تحلیل آثار هنرمندان نسل پنجم گرافیک ژاپن بر اساس زیبایی‌شناسی فمینیستی کرولین کورسمایر 723002 10.30508/fhja.2025.2043583.1194 FA حانیه پذیرفته کارشناسی ارشد ارتباط تصویری، دانشکده هنر، دانشگاه سوره، تهران، ایران. سمیه رمضان ماهی استادیار گروه ارتباط تصویری، دانشکده هنر دانشگاه سوره، تهران، ایران. 0000-0003-1343-9322 Journal Article 2024 10 17 Analysis of the Works of the Fifth-Generation Japanese Graphic Artists Based on Carolyn Korsmeyer’s Feminist Aesthetics Hanieh Pazireh M.A. in Visual Communication, Faculty of Art, Soore University, Tehran, Iran Somayeh Ramezanmahi* (Corresponding Author) Assistant Professor, Department of Visual Communication, Faculty of Art, Soore University, Tehran, Iran This article is derived from a Master's thesis at Soore University, entitled An Analysis of Female Imagery in the Posters of Contemporary Japanese Artists from the Perspective of Carolyn Korsmeyer, conducted under the supervision of the corresponding author. Problem Statement The poster is a branch of graphic art used since ancient times for information dissemination, advertising, and cultural messaging. Over the years and across historical periods in various societies, this art form has undergone numerous transformations. However, not only has its significance in graphic design not diminished, but it has also experienced substantial growth across various media platforms. Typically, a poster contains both images and text to convey an idea or information to the public. Therefore, a poster can be considered a complete and modern example of paintings from different historical periods. Through its analysis and study, one can gather information about the historical era, political conditions, artists, and societal viewpoints within specific periods of graphic art history. Japan is among the countries renowned globally in the field of graphic design, particularly in poster art. While preserving its indigenous art and authenticity and bringing prominent designers onto the international stage, it has drawn the attention of numerous scholars. Contemporary Japanese artists have officially established the school of modern Japanese poster design. Notable figures of this era include Ikko Tanaka, Shigeo Fukuda, Makoto Nakamura, Kiyoshi Awazu, Tadanori Yokoo, Kazumasa Nagai, and Mitsuo Katsui. These artists, building on traditional Japanese poster art and merging it with Western poster aesthetics, paved the way for their contemporaries and future generations, contributing valuable models for study in Japanese poster schools from the 1940s to the late 1990s. This time frame closely aligns with the emergence and evolution of the feminist movement, which began in the 1970s. Considering the deep-rooted traditions and ancient culture of Japan and their direct influence on visual arts and poster creation by Japanese artists, these works can be analyzed through the lens of Carolyn Korsmeyer’s feminist aesthetics. In her approach, culture, tradition, and society are of paramount importance. She presents feminist aesthetic principles in a manner that positions the field of fine arts as a significant center within feminist scholarly discourse, reshaping all conventional understandings of art. The most richly critiqued historical concept in the feminist philosophy of art is the notion of "fine art," which is reflected in visual works. Therefore, by studying the imagery employed in the posters of the fifth generation of Japanese graphic artists—one of the most significant generations in the history of graphic art in Japan and globally—valuable insights can be gained in the realms of graphic design and philosophy. In today's modern world, shifting perceptions of gender roles have prompted critics like Carolyn Korsmeyer to offer analytical and critical perspectives on artistic works. Her six key ideas critically evaluate the influence of male artists on Japanese society regarding their ideologies thought structures, and perspectives on gender equality and women's issues. Thus, by applying Korsmeyer’s theories to modern Japanese poster art, useful knowledge can be acquired regarding poster design and feminist aesthetics in Eastern and Japanese visual arts. Research Objective This article aims to assess feminist aesthetics based on Carolyn Korsmeyer’s theories as applied to selected posters by contemporary Japanese artists. Research Question How can the imagery used in contemporary Japanese graphic posters be interpreted from a feminist perspective? Research Methodology This study is descriptive-analytical and falls within the domain of qualitative research. After establishing the theoretical framework of feminist aesthetics, the views of Carolyn Korsmeyer will be extracted and analyzed. Based on these perspectives, visual analyses of poster artworks by fifth-generation Japanese graphic artists will be conducted. This will uncover the nature of Japanese poster art and the fundamental cultural, artistic, and intellectual differences between Eastern/Japanese and Western feminist aesthetics. Additionally, the findings will contribute to understanding the aesthetic perspectives of male artists, their engagement with the feminist movement, and how these are reflected in their works. Conclusion Although the title of this study indicates a focus on "the analysis of images of women," the analysis of the posters includes both female and male imagery to uphold the feminist principle of equality rather than superiority. Based on the data and findings, the works of Shigeo Fukuda align most closely with Carolyn Korsmeyer’s framework. In other words, his balanced use of male and female imagery, avoidance of using women solely to attract attention or for sexual arousal, and his departure from the problematic tradition of bijinga (images of beautiful women) highlight his success. Therefore, in terms of modern artistic approach and execution, his works score the highest, and in terms of adherence to or deviation from traditional Japanese visual norms, his works demonstrate a distinct departure. His scores on key feminist indicators range from over 60% to 100%. The works of Kiyoshi Awazu also align well with Korsmeyer’s framework. Firstly, he considers form, color, and aesthetic elements; secondly, he successfully employs balanced imagery of men and women. Although his style is more traditional than Fukuda's and less simplified, his works can still be classified as successful examples of feminist aesthetic adherence. According to the theoretical framework, the posters of Ikko Tanaka score lowest in the realm of feminist aesthetics. While his works exhibit creativity, they fall short of a feminist aesthetic perspective. The influence of the bijinga painting tradition is evident in his works. He may be considered a traditional Japanese artist who did not significantly engage with modern themes or ideas. Artists such as Tadanori Yokoo, Makoto Nakamura, and Kazumasa Nagai received moderate scores, as they succeeded in some areas while performing less effectively in others. In some works, they adhered to traditional Japanese visual poster aesthetics, while in others, they adopted different approaches—occasionally using female imagery to attract audience attention. For which types of advertisements were posters featuring images of women predominantly used? Based on the collected data, such posters were most commonly used in advertisements for cosmetics, clothing, traditional performances, beer, and cigarettes. However, feminine imagery can also be found in some cultural posters. For instance, Kazumasa Nagai’s environmental poster features feminine images and elements. Are the depictions of women in contemporary Japanese graphic posters derived from Western models or rooted in local culture and tradition? In ancient Japan, women played significant roles in mythology. However, after the introduction of Chinese traditions, Japanese society gradually embraced patriarchy, which slowly permeated its traditions and culture. Thus, the origins of patriarchal thought in Japan can be traced back to China. Over the years, Japan’s interaction with Western society also influenced its advertising practices. The use of beautiful female imagery in Western and European advertisements was introduced into Japanese poster design. While Japan had its tradition of using beautiful women in bijinga paintings, the adoption of Western models incorporated this aesthetic into modern poster art. Therefore, although the tradition exists within Japanese culture, its contemporary form has been shaped by external influences. بیـان مسـئله زیبایی‌شناسی فمینیسم، همانند سایر شاخه‌های این مکتب، مفروضات بنیادین و سنتی غرب را به دلیل تکیه بر پیش‌فرض‌ها و نظریات متعصبانه و جنسیت‌زده، مورد انتقاد قرار داده و این مفروضات را عامل اساسی در شکل‌گیری و عملکرد زیبایی‌شناسی می‌داند. این رویکرد معتقد است که در حوزه هنر و زیبایی‌شناسی، تبعیض جنسیتی مانع رشد نبوغ، استعداد و خلاقیت زنان در تولید آثار هنری شده است. زیبایی‌شناسی فمینیستی با بهره‌گیری از مطالعات میان‌رشته‌ای به تحلیل دستاوردهای حوزه‌های فلسفه، جامعه‌شناسی و تاریخ هنر می‌پردازد. هــدف پژوهــش: هدف این مقاله، ارزیابی زیبایی‌شناسی فمینیستی بر اساس نظریات کارولین کورسمایر در پوسترهای منتخب از هنرمندان معاصر ژاپن است. ســؤال پژوهــش تفسیر تصاویر استفاده‌شده در پوسترهای گرافیکی معاصر ژاپن از دیدگاه فمینیسم چیست؟ روش پژوهــش در این پژوهش، از رویکرد و چارچوب نظری کارولین کورسمایر، منتقد فمینیست و استاد دانشگاه در ایالات‌متحده، برای تحلیل آثار استفاده شده است. شش مؤلفه مهم در نظریه‌ی او، با توجه به ویژگی‌های تصویری هنر پوستر ژاپنی، تبیین و تحلیل شده‌اند. تمرکز پژوهش بر تحلیل نحوه عملکرد هنرمندان مرد ژاپنی در استفاده از تصاویر به‌کاررفته در آثار پوستر ایشان با رویکرد فمینیستی است. نتیجه‌گیری نتایج پژوهش نشان می‌دهد که محیط اجتماعی، تحولات سیاسی، تاریخی، فرهنگی و رسانه‌ای تأثیر بصری قابل توجهی بر آثار هنرمندان معاصر ژاپنی گذاشته است. بر اساس یافته‌ها، سه نفر از هشت هنرمند نسل پنجم گرافیک ژاپن درصد بالایی از ایده‌های زیبایی‌شناختی فمینیستی کارولین کورسمایر را در آثار خود منعکس کرده‌اند.

https://www.fhja.ir/article_723002_69a93583205884a6b46a9c1f92c036b3.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Analysis of Centers influencing the process of formation of early Islamic scripts واکاوی کانون‌های تأثیرگذار بر روند تشکیل خطوط اولیه اسلامی 723003 10.30508/fhja.2025.2037985.1184 FA فاطمه نصیری دانشگاه مازندران 0000-0001-6942-1637 همایون حاج محمد حسینی دانشگاه مازندران Journal Article 2024 08 09 Analyzing the Influential Centers in the Formation of Early Islamic Scripts Dr. Fatemeh Nasiri, Ph.D., Assistant Professor, Faculty of Cultural Heritage, Handicrafts and Tourism, University of Mazandaran, Iran. Dr. Homayoun Haj-Mohammad Hosseini, Ph.D., Assistant Professor, Faculty of Art and Architecture, University of Mazandaran, Iran. Problem Statement: Islamic scripts, which encompass a wide range of derivatives, are most closely associated with the Arabic script due to their development in the land of divine revelation and their subsequent elevation with the rise of Islam. Having taken root in diverse cultures and civilizations, Islamic calligraphy has gained a distinctive status among the world's scripts. According to Titus Burckhardt, “Islamic calligraphy is an art form held in high regard throughout the Islamic world, as anyone familiar with writing is capable of recognizing and judging the art of calligraphers. It can be said without exaggeration that no art has contributed as much to the cultivation of Muslims’ aesthetic sense as calligraphy” (1986, p. 57). It is thus worth exploring how early primary scripts evolved into the current Arabic script—a script that, in Burckhardt’s view, may be among the most phonetic systems in existence . It is evident that the foundation of early Arabic scripts, following a long historical trajectory, only achieved refinement and flourishing after the emergence of Islam and the imperative need to transcribe the divine message for the establishment and expansion of the religion. The Arabs, being nomadic and traditionally reliant on oral transmission, had long harbored skepticism toward writing. Unlike other ancient civilizations such as the Egyptians, Sumerians, Babylonians, and Chinese—who had developed complex writing systems thousands of years prior—the Arabs adopted written forms much later. It was only with the blossoming of Islam and the necessity to preserve the sacred content of the Quran that writing became essential. This urgency prompted the adaptation of writing developments from both the northern and southern regions of the Hijaz for use in Islamic scripture. Thus, the historical trajectory of the evolution and development of early Islamic scripts is inherently tied to the influence of ancient civilizations in the Middle East. The confluence of these cultures played a crucial role in shaping the early forms of Islamic writing. Given the prominence of calligraphy in Islamic lands—especially in Iran, where scholars argue that "after Persian literature, the largest body of theoretical discourse pertains to calligraphy" this research aims to explore the influence of ancient civilizations on early Islamic scripts, with particular attention to Iran’s significant role. Accordingly, the present study investigates the historical and cultural aspects of various regional peoples by locating the geographical centers of early Western Asian civilizations and analyzing their political, historical, and social contexts to trace the development of early Islamic scripts. In doing so, it also assesses the evolution of earlier alphabetical scripts and the cultural intersections between different ethnic groups—especially ancient Iranians—and evaluates how such interactions influenced or were influenced by Iran. Research Objective The objective of this study is to determine the role and contribution of each of these civilizations in the formation and evolution of early alphabetic scripts and their specific influence on the emergence and development of early Islamic scripts, particularly in the form of the Kufic script. Furthermore, it aims to underscore the necessity of understanding the political and social performance of these centers in the Middle East and how their interactions over time contributed to the advancement of early Islamic writing systems. Research Question This study seeks to answer the following question: How did the evolution of early Islamic scripts unfold under the influence of various civilizations and ethnic groups? Research Methodology This is a qualitative study using a descriptive-analytical approach. It investigates the spatial and temporal conditions of the civilizations that contributed to the evolution of early Islamic scripts through the study of historical documents and written records from the mentioned regions. The historical evidence is classified into two categories: Written and published sources by leading scholars in the field of script and calligraphy, which focus on the analysis and classification of ancient written forms. Material evidence of calligraphy, such as inscriptions from ancient periods, serves as tangible proof for describing the development of scripts. This also includes the geographical analysis of ancient ethnic settlements in the Middle East and Near East, tracked through historical maps to understand their migrations and cultural exchanges. Conclusion Based on the historical background of the Hijaz region and its surroundings, the development of the Arabic script was shaped by events in northern Arabia, the Levant, Iraq, and Iran, as well as by the linguistic and scriptural evolution of the peoples inhabiting these areas. The Nabataean and Himyarite states and their interaction with the residents of Hira and Anbar played a significant role in shaping the initial form of the Arabic script. However, the exact sequence of influences among various ethnic scripts remains unclear. Historical evidence mainly enables us to list the involved civilizations and ethnic groups and, by considering the final stage of script development in Hira and Anbar at the dawn of Islam, analyze the cultural intersections. Among the most influential civilizations in the formation of the Arabic script were the Phoenician, Hebrew, Aramaic, and Nabataean—groups with Semitic roots closely related to the Arabs of the Arabian Peninsula. Despite living in distinct geographical areas, historical events brought them into contact with the Arabs. Nevertheless, the role of the Arabs of the Arabian Peninsula—where Islam emerged—cannot be ignored. These Arabs developed the motivation and capacity to adopt and adapt the refined writing systems of neighboring civilizations. The revelation of Islam and the need to record its divine teachings further compelled them to utilize the organized writing methods of northern tribes in pursuit of their religious and cultural goals. بیان مسئله اسلام در سرزمینی ظهور کرد که مردمانش در ابتدا آشنایی اندکی با نگارش داشتند اما خوشبختی مسلمین ازآن‌رو بوده است که با تمدنهایی مجاور بودند که قابلیت انتظام بخشیدن به خواستهها و تمایلات ذهنی خود را در بطن نوشتار کسب کرده بودند؛ در نخستین زمانهای شکلگیری الفبا، فنیقیهای تاجر میدرخشند که آوازهشان در تمام تاریخ و برای تمام جوامع مبرهن است اما پیرو آنها اقوام دیگری نیز بودند که به غنای حروف ابداعی اولیه مدد رساندند و آن تمدنهای کهن‌تر واقع در سرزمین ایران بودند که بزرگ‌ترین نقش را در سیر تکامل خطوط اولیه داشتند. ورای این تمدنها نقش قبایل مهاجم آرامی و عبرانی در منطقه نیز بارز است که با حضور شورشگرانه مداوم خود در شمال خاوری و باختری حجاز به انتقال دستاوردهای این تمدنها پرداختند. این اقوام در پهنه وسیع منطقه شام بهطور گسترده موجب توسعه خط و زبان ابتدایی ابداع شده توسط فنیقیها و ایرانیها و مصریها گردیدند و با رفت‌وآمد بین تمدنهای پیشرفته شرق و غرب، خط الفبایی خلق‌شده را غنا بخشیدند. هدف پژوهش بدین ترتیب، هدف پژوهش حاضر تعیین جایگاه هرکدام از این اقوام و تمدنهای تأثیرگذار در شکلگیری و تکامل خطوط الفبایی ابتدایی و سهم اختصاصیشان در پیدایش خطوط اولیه اسلامی و تکوین آن در قالب خطوط کوفی بوده و همچنین ضرورت تعیینکنندگی عملکرد سیاسی و اجتماعی این کانونها در منطقه خاورمیانه بر بهبود و ترقی خطوط اولیه و نوع تلاقیشان با یکدیگر درگذر زمان سؤال پژوهش: این پژوهش در پی پاسخگویی به این پرسش است که سیر تحول خطوط اولیه اسلامی توسط این تمدنها و اقوام، چگونه بوده است؟ روش پژوهش در این راستا با رویکردی توصیفی و تحلیلی ابتدا بهوسیله اسناد تاریخی موجود به معرفی این تمدنها و بیان موقعیت فرهنگیشان پرداخته و سپس با تحلیل چگونگی اثرگذاری‌شان بر یکدیگر، سیر تکامل خطوط اولیه اسلامی مورد ارزیابی قرار میگیرد. نتیجه‌گیری برآیند این پژوهش نشان میدهد که حضور پرتحرک اقوام شورشگر آرامی و عبرانی در شرایط استراتژیکی منطقه خاور نزدیک موجب تلاقی فرهنگی و تبادل خطوط و نوشتارهای ابداعی در گوشه و کنار مناطق خاورمیانه به‌ویژه قسمتهای غربی آن گردید و بهرههایی که از این تبادلات فرهنگی برای جهانیان حاصل شد بسیار ارزشمندتر از آسیبهایی بوده که درنتیجه شورشها و غارتهای اقوام آرامی و عبرانی در منطقه موردنظر طی سالیان و قرون متمادی به بار آمد.

https://www.fhja.ir/article_723003_4b76ac4ade796d95aef469182f74301a.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Analysis of Artistic Adaptation in Cinema Based on the Recreation of Paintings واکاوی اقتباس هنری در سینما مبتنی بر بازآفرینی نقاشی‌ها 724429 10.30508/fhja.2025.2044452.1196 FA فاطمه صمدی گروه هنر، دانشکده هنر، موسسه آموزش عالی فردوس، مشهد، ایران. 0000-0003-4558-695X سحر سروین گروه هنر، دانشکده هنر، موسسه آموزش عالی فردوس، ایران. 0000-0003-3103-6156 Journal Article 2024 10 28 Exploring Artistic Adaptation in Cinema Based on the Recreation of Paintings Fatemeh Samadi, M.A., Department of Art, Faculty of Art, Ferdows Higher Education Institute, Mashhad,Iran. Sahar Sarvin, Ph.D., Department of Art, Faculty of Art, Ferdows Higher Education Institute, Iran. Problem Statement: In the realm of visual arts, painting and cinema function as two distinct media, each possessing its own expressive language and narrative mechanisms. While painting conveys meaning through static composition, color, form, and light, cinema relies on movement, temporality, and visual continuity to communicate concepts and emotions. However, when these two media intersect through adaptation, new possibilities emerge for generating meaning and enhancing artistic experience. The adaptation of paintings into cinema predominantly manifests through two approaches: ekphrasis and recreation. In ekphrasis, the painting is presented with minimal alteration within the cinematic frame, serving as a supplementary element in the narrative. Conversely, recreation is a more creative process wherein the painting is reconstructed using mise-en-scène, costume design, lighting, and performance, and is integrated into the film’s narrative context. This reconstruction not only presents the artwork but also reinterprets it in a new framework, enriching it with additional layers of meaning. Analyzing the recreation of paintings in cinema is of particular significance, as it highlights the active interaction between two visual media and enhances the audience’s engagement with both works. Recreation goes beyond mere visual representation; it often carries broader semantic implications, such as social critique, psychological expression, or a reinterpretation of the painting's original theme. Accordingly, this study investigates how cinematic works employ visual elements of painting to generate meaning, the distinctions between faithful and interpretative recreations, and the impact of these adaptations on the audience’s aesthetic experience. The research seeks to reveal the role of recreation as a creative and influential cinematic technique and to uncover new dimensions in the relationship between the visual arts. Research Objective: The objective of this study is to analyze the use of representation and adaptation of paintings in cinema. Research Question: To achieve this aim, the main research question is: What is the function of recreating certain paintings in cinematic works? Methodology: This study adopts a descriptive-analytical methodology, as exploring the relationship between painting and cinema necessitates a systematic explanation of each domain and an analysis of their interconnections. The data have been collected through library and documentary research, as a thorough review of theoretical foundations and relevant practices was essential for the progress of the study. Given the breadth of the subject and to maintain focus on the primary research goal, some explanations are presented concisely, with authoritative references suggested for further reading. The data analysis is conducted qualitatively, and to attain greater precision in the findings, three case studies have been selected. The selection criteria for these films include diversity in the method of painting recreation, their significance in the history of art and cinema, and their suitability for comparative analysis within the framework of this research. Conclusion: By focusing on the recreation of paintings in cinema and analyzing three prominent examples of this process, the present study demonstrates that recreation is not merely a visual representation of artworks but a creative act of meaning-making that enhances the aesthetic experience. This method enables an innovative and dynamic connection between artistic media by merging visual elements, philosophical concepts, and cinematic narratives. The recreation of paintings in films such as Shutter Island, A Clockwork Orange, and About Schmidt deepens the emotional and semantic layers of the narratives and prompts the audience to reflect on themes such as identity crisis, psychological disintegration, and alienation. The findings indicate that artistic recreation not only revives and reintroduces paintings to contemporary audiences but also provides a platform for generating new, intertextual meanings. This process elevates the originality and depth of adapted works and, through artistic creativity, expands the boundaries of visual art in contemporary times. Thus, the recreation of paintings in cinema functions as a powerful mode of intermedial interaction, enriching the viewer’s artistic experience and bridging classical traditions with modern concerns. Ultimately, this study highlights the significance of recreation in the process of artistic adaptation and recommends that future research extend this line of inquiry to other artistic domains, including theater, music, and digital arts, in order to further investigate novel dimensions of intermediality. The central research question—What is the function of recreating certain paintings in cinematic works?—leads to a multifaceted exploration. The recreation of paintings in cinema functions not merely as a technique for visually representing existing artworks, but as a creative act within the broader process of artistic adaptation. Through this practice, filmmakers can harness the symbolic, emotional, and philosophical potentials of paintings to construct new narrative layers within the cinematic structure. In this process, the painting serves as a mediating element, facilitating the expression of complex ideas such as identity crisis, psychological collapse, existential conflicts, and critiques of social structures, often without the need for explicit exposition or verbal explanation. Recreation also forges a dynamic and creative link between historical artistic traditions and contemporary storytelling, offering a space for intermedial dialogue wherein the interpretation of the painting is re-contextualized. This approach not only revives the aesthetic value of artworks but also strengthens the viewer’s interpretive engagement in the meaning-making process. The audience, encountering these recreations, is invited to draw upon their own cultural and visual backgrounds to uncover hidden layers of the narrative, thus experiencing a multifaceted engagement with both the painting and the film. Therefore, the recreation of paintings in cinema has multiple functions: it acts as a narrative tool that deepens emotional expression and as a conceptual bridge that elevates the intellectual and aesthetic experience of the audience. In doing so, it transforms cinema into a platform for intermedial discourse and unlocks new expressive capacities for contemporary visual storytelling. چکیده فارسی بیان مسئله: در عرصه‌ی هنرهای بصری، نقاشی و سینما به‌عنوان دو رسانه‌ی مستقل و هر یک با زبان و امکانات بیانی خاص خود، به خلق روایت‌ها و انتقال احساسات می‌پردازند. نقاشی از طریق ترکیب‌بندی ثابت، رنگ، فرم و نور، و سینما با بهره‌گیری از حرکت، زمان و تداوم تصویر، مفاهیم را به مخاطب منتقل می‌کنند. بااین‌حال، هنگامی‌که این دو رسانه در فرآیندی اقتباسی به یکدیگر پیوند می‌خورند، امکانات تازه‌ای برای بازتولید معنا و تجربه‌ی هنری پدید می‌آید. اقتباس نقاشی در سینما به‌طور عمده در دو شیوه‌ی «اکفراسیس» (Ekphrasis) و «بازآفرینی» (Recreation) ظهور می‌یابد. در اکفراسیس، اثر نقاشی بدون تغییر عمده‌ای در قاب دوربین به تصویر کشیده می‌شود و به‌عنوان عنصری مکمل در روایت به کار می‌رود. در مقابل، بازآفرینی، فرآیندی خلاقانه‌تر است که در آن نقاشی با استفاده از صحنه‌آرایی، طراحی لباس، نورپردازی و بازیگری بازسازی می‌شود و در بافت داستانی فیلم ادغام می‌گردد. این بازسازی نه‌تنها به نمایش اثر هنری می‌پردازد، بلکه آن را در سیاقی تازه تفسیر کرده و لایه‌های معنایی جدیدی بر آن می‌افزاید. تحلیل بازآفرینی نقاشی در سینما از اهمیت ویژه‌ای برخوردار است، چراکه این فرآیند نشان‌دهنده‌ی تعامل فعال میان دو مدیای بصری است و می‌تواند تجربه‌ی مخاطب را از هردو اثر غنی‌تر کند. بازآفرینی، محدود به بازنمایی صرف تصویر نیست، بلکه اغلب حامل بار معنایی گسترده‌تر، نقد اجتماعی، بیان حالات روانی، یا تفسیر جدید از مضمون نقاشی اصلی است. با توجه به این زمینه، پژوهش حاضر می‌کوشد با تمرکز بر بازآفرینی نقاشی‌ها در آثار سینمایی، به پرسش‌هایی همچون نحوه‌ی بهره‌گیری از عناصر بصری نقاشی در خلق معنا، تفاوت میان بازآفرینی وفادارانه و الهامی، و تأثیر این بازآفرینی‌ها بر تجربه‌ی زیبایی‌شناختی مخاطب پاسخ دهد. این پژوهش درصدد است تا جایگاه بازآفرینی نقاشی به‌عنوان شیوه‌ای خلاقانه و تأثیرگذار در سینما و ابعاد تازه‌ای از پیوند میان هنرهای تصویری را آشکار سازد. هدف پژوهش: هدف «تحلیل کاربرد بازنمایی و اقتباس نقاشی‌ها در سینما» است. سؤال پژوهش: «کاربرد بازآفرینی برخی از نقاشی‌ها در آثار سینمایی چیست؟» روش تحقیق: این پژوهش به‌صورت توصیفی-تحلیلی انجام شده است و روش گردآوری داده‌ها، کتابخانه‌ای و مشاهده‌ی تصاویر است. همچنین روش تجزیه‌وتحلیل این پژوهش کیفی انتخاب‌شده است و به سه نمونه موردی، به‌تفصیل پرداخته خواهد شد. نتیجه‌گیری: یافته‌های پژوهش نشان می‌دهد که بازآفرینی نه‌تنها ارزش اثر اصلی را کاهش نمی‌دهد، بلکه جایگاه جدید و معتبرتری به هر دو اثر اقتباسی می‌بخشد. این رویکرد با تأکید بر خلاقیت، به احیای آثار هنری قدیمی کمک کرده و به آن‌ها حیات تازه‌ای می‌دهد. همچنین، بازآفرینی فرصت خلق آثار اصیل و الهام‌بخش را برای هنرمندان فراهم می‌کند که خود می‌توانند منبع اقتباس‌های جدید شوند. درنتیجه، این پژوهش نشان می‌دهد که بازآفرینی می‌تواند به ارتقای هر دو هنر و گسترش مخاطبان آن‌ها کمک کند.

https://www.fhja.ir/article_724429_c9e3da9a0f5e26edfa85b61f402d8963.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 4 13 2023 08 23 Hypertextual analysis of Qajar carpet design (A case example of Kerman carpet with the theme of goddess and satyr dance) خوانش بیش متنی طراحی فرش قاجار (نمونه موردی فرش کرمان با مضمون رقص الهه و ساتیر) 724801 10.30508/fhja.2025.2046742.1199 FA حنا کاظمیان کارشناس ارشد پژوهش هنر از دانشگاه ازاد اسلامی 0009-0005-8321-3662 Journal Article 2024 11 29 Intertextual Reading of Qajar Carpet Design (Case Study: A Kerman Carpet Featuring the Dance of the Goddess and Satyr) Hana Kazemian MA in Art Research, Faculty of Engineering and Technology, Islamic Azad University, Qaemshahr Branch, Mazandaran, Iran. Abstract Research Problem: The art of Persian carpet weaving before the Safavid period had unique characteristics; however, during the Safavid era and its cultural exchanges with the West, like other Iranian arts, Persian carpet art underwent significant transformations in structure and content. From this period onwards, various factors such as the expansion of photography, the establishment of printing houses and the production of illustrated books, the influx of Western artworks, and the presence of Western artists in Iran contributed to the spread of Western art, gradually introducing figuration into carpet design. The Qajar period marked a close cultural, social, economic, and political connection with the West. The art of carpet weaving was not exempt from the influence of Western art, undergoing fundamental changes in size, design, and weaving methods. Traditional Iranian motifs such as flowers, shrubs, and boteh-jegheh were replaced by portraits of famous individuals, scenes from the Shahnameh, religious themes, and Western-oriented content. Contrary to tradition, designers of pictorial carpets employed realistic and objective images instead of abstract or imagined motifs. Qajar pictorial carpets were influenced by various cultural, social, and artistic factors of the period (Table 1). Moreover, the establishment of numerous carpet workshops in Tabriz, Kerman, Mashhad, Kashan, and other cities, along with the direct or Turkish-mediated export of carpets, led to the growing popularity of European-oriented designs and the widespread production of pictorial carpets, unlike in earlier periods. The large number of such carpets from the Qajar era justifies the need for thorough investigation, which will in turn reveal the characteristics of carpet art, design, motifs, and other elements of this period. Research Objective: This study aims to investigate how Iranian carpet designers were influenced by Western art through a case study and to identify the structural features of pictorial carpet design during the Qajar period. Research Questions: The research aims to answer the following questions: In the examined artwork, which type of transtextuality (hypertextuality) is more prominently reflected in the carpet design? What specific changes occurred in the design during this process of influence? Research Methodology: This research is developmental in type, qualitative in nature, and employs a descriptive-analytical method based on Gérard Genette’s hypertextuality theory. Data was collected through library research using first-hand sources. Measurement tools include tables, illustrations, and qualitative comparisons of information extracted from books, articles, and theses. Sampling was conducted using purposive qualitative selection. The statistical population consisted of approximately 20 high-quality pictorial carpets from the Qajar period, from which one sample was selected for detailed qualitative analysis in line with the objectives of the study. During the analytical process, the study first introduces the pretext and hypertext bodies, and then identifies and presents the relationships between them in terms of intersemiotic, interdiscursive, and diachronic connections. Finally, based on Genette’s dual criteria—relationship and function—the hypertext is evaluated. The transformations occurring in the hypertext compared to the pretext are carefully identified and analyzed. Conclusion: Iranian art has always followed a dynamic and evolutionary path, influenced by other civilizations from its earliest periods to the present. This study examined how the design of an Iranian pictorial carpet (hypertextual body) was influenced by a European tapestry (pretextual body), employing Gérard Genette’s approach to hypertextuality. In response to the first research question, the study concludes that the design and motifs of the hypertext exhibit transformation about the pretext and, functionally, belong to the category of serious transformation. Therefore, within Genette’s typology, the relationship falls under the transposition or serious transformation category. In response to the second question, three main types of transformation are identified: form, composition, and color. Although the Iranian artist was inspired by a Western pretext, he did not merely imitate but used his creativity to produce a new and independent hypertext. In other words, the artist's influence was not purely mimetic; he sought to go beyond the pretext, drawing upon Iranian painting traditions and his social context to create a culturally grounded work. The transformations resulting from the differing cultural, artistic, and social backgrounds of the pretext and hypertext led to substantial changes. These changes not only produced an original and independent work but also generated a meaningful hypertext connected to the culture and society of the time. The artist also alludes to cultural, artistic, and social features of the society in which the work was created—for example, the use of Iranian faces, Iranian-style perspective, and floral motifs to fill negative space, all reflecting the aesthetics of Iranian painting. In conclusion, although the carpet under study was influenced by a non-Iranian, Western work, through deliberate adaptation it became a new creation that continues the legacy of Iranian painting and cultural tradition. بیان مسئله: عوامل مختلفی مانند ورود گسترده دوربین عکاسی، تأسیس چاپخانه‌ها و چاپ کتاب‌های تصویری، ورود آثار و حضور هنرمندان غربی، بازار بزرگ غرب با سلیقه متفاوت و سفارش‌های جدید، باعث رواج تصویرگرایی در طراحی فرش ایران شد. یکی از نمونه‌های نادر تأثیر تصویرگری غربی بر طراحی فرش ایرانی، فرش بافته‌شده با مضمون «رقص الهه» در دوره قاجار است که طراحی آن از یک نقاشی و گوبلنی متعلق به ناصرالدین‌شاه (نگهداری‌شده در تالار کاخ گلستان) الهام گرفته شده است. هدف پژوهش: در این پژوهش هدف بررسی شیوه تأثیرپذیری طراحان فرش ایرانی از هنر غرب در نمونه مورد نظر و شناسایی ساختار طراحی فرش‌های تصویری دوره قاجار می‌باشد. سؤالات پژوهش: پژوهش حاضر با هدف پاسخ‌گویی به سوالات زیر انجام شده است: شیوه تأثیرپذیری طراحی فرش در اثر موردنظر پژوهش بیشتر به کدام گونه از بیش‌متنیت تمایل دارد؟ در این فرآیند، چه تغییراتی در طراحی اثر موردنظر ایجاد شده است؟ روش پژوهش: این پژوهش از نوع توصیفی-تحلیلی بوده و گردآوری اطلاعات به روش مطالعات اسنادی، منابع کتابخانه‌ای و مشاهده آثار موزه‌ای صورت گرفته است. پژوهش از لحاظ هدف، بنیادی و از لحاظ چیستی، کیفی محسوب می‌شود. جامعه هدف، فرش رقص الهه است. برای پاسخ به سؤالات پژوهش، از رویکرد بیش‌متنیت ژرار ژنت بهره گرفته شده است. نتیجه‌گیری: نتایج نشان می‌دهد که تأثیر طراحی فرش ساتیر و رقص الهه (بیش‌متن) از طراحی گوبلن ناصرالدین‌شاه (پیش‌متن) بر اساس گونه‌شناسی بیش‌متنیت ژنت، در دسته جایگشت (ترانسپوزیشن) و تراگونگی با کارکرد جدی قرار می‌گیرد. تراگونگی‌های ایجادشده در بیش‌متن شامل تغییرات در شکل، ترکیب‌بندی و رنگ است. هنرمند طراح فرش در خلق یک بیش‌متن جدید و مستقل، نگاه تقلیدی صرف نداشته و آگاهانه از اثر الهام گرفته است.

https://www.fhja.ir/article_724801_024097fcc03002e8fd2688114f1bcb0c.pdf