https://jisva.neyshabur.ac.ir/ Journal of Interdisciplinary Studies in Visual Arts en daily 1 Sat, 22 Nov 2025 00:00:00 +0330 Sat, 22 Nov 2025 00:00:00 +0330 https://jisva.neyshabur.ac.ir/article_232571.html Statue-making in Iran begins almost with the early stages of civilization in this ancient land. Among them, figurine vessels are a luxurious art form that, in addition to having aesthetic aspects, were also practical and were made in various forms, including human, animal, bird and composite forms (harpy). Among them, figurine vessels with the harpy form have a special place among other forms due to their rarity, the combination of human and animal figures, and their beautiful formal structure and precise composition. With the arrival of Islam in Iran and the production of golden glaze, this brilliant glaze with its golden reflection found its way into the context of pottery works, including figurines, and as a result, unique golden figurines were created, especially in the Ilkhanid era, which have occupied a very valuable place to this day. In this research, the intention is to study the morphological and formal characteristics of golden figurines made in the harpy form during the Ilkhanid historical period. The questions of the article are: What morphological characteristics are evident in the golden figurines of the Ilkhanid period, made in the harpy form? And what is the form and mold in these figurine-like vessels? To find answers to these questions, in the first step, an attempt has been made to introduce the golden figurine vessels of the Ilkhanid era, which were made in the harpy form, and then, in order to discover their morphological features, the form and structure of the works are analyzed and examined. https://jisva.neyshabur.ac.ir/article_235188.html Calligraphy is one of the original Iranian arts in which the efforts of calligraphers in the dissemination of lyrical and educational literature are important. Literary themes such as educational, mystical, enduring, reproachful, Qalandari, ethical, symbolic, ideological, lyrical, political and social, mythological, literary commitment, etc. have always been of interest in Iranian art. Discovering the obvious and hidden relationships between literary texts and calligraphic texts can familiarize us with the attitude that the artist had at that time.In this study, Gerard Genette's theoretical approach to transtextuality is used to classify the calligraphic works of Mir Emad Qazvini, a famous artist of the Safavid era, in terms of concepts and semantic systems, in order to understand the mystery hidden in these works by studying the intertextual and hypertextual relationships between these literary and artistic texts. The main issue of this research is to identify literary themes in the artist's calligraphy pieces in order to identify the co-presence and involvement relationships between the genres of poetry and calligraphy with Iranian culture and literature. The objectives of this research focus on identifying textual relationships based on literary themes used in the artist's calligraphy based on Genette's approach. The main question of the research is what is the relationship between the formal and semantic nature of Mir Emad's calligraphy in relation to the selection of literary themes?In conclusion, this research can point to the supratextual, intertextual, and hypertextual relationship between the visual text and the literary pretext, and the formal system and semantic system of Mir Emad's cross calligraphy works can be read in relation to the realization of literary themes hidden in the pretext of the poems. Transtextual relationships in the dimensions of form and meaning in works of art with pretexts can reveal the hidden layers of the dimensions of form and content and reveal the influence and impact of texts on each other. The nature of this research is developmental and was conducted using a descriptive-analytical method based on Gerard Genette's transtextuality approach. https://jisva.neyshabur.ac.ir/article_235835.html Animation, as one of the modern visual arts, plays a significant role in conveying concepts and visual narratives. Traditional and historical artistic styles have long served as sources of inspiration for animators, contributing substantially to the creation of distinctive visual effects. Among these influential styles is Persian miniature painting, which—with its characteristic features such as intricate motifs, rich color palettes, and symmetrical compositions—has manifested in numerous artistic works. The Secret of Kells is one of the prominent animations that draws on traditional arts within its visual style. Inspired by Celtic motifs, this work constructs a symbolic and decorative visual atmosphere that, in several visual aspects, exhibits notable affinities with Persian miniature painting. Given the importance of the influence of ancient arts on modern media, the present study examines and analyzes the extent of visual similarities and correspondences between The Secret of Kells and Persian miniature painting. Accordingly, this research seeks to answer the following question: What shared visual components exist between Persian miniature painting and The Secret of Kells? The methodology is descriptive-analytical, and data have been collected through library research and electronic documents. The findings indicate that the influence of Persian art on the illustrative style of The Secret of Kells contributes to observable visual similarities and relationships between the ancient and modern motifs employed in the animation. The use of symmetrical compositions, rich color palettes, and decorative patterns reminiscent of Persian miniature painting plays a significant role in shaping the animation’s distinctive visual atmosphere. Animations such as The Secret of Kells, through drawing upon traditional cultural and artistic elements, are capable of conveying deeper visual messages to their audiences. Likewise, Persian art possesses considerable potential that can be harnessed in the creation of new artistic works. https://jisva.neyshabur.ac.ir/article_236816.html This study aimed to examine and analyze the temporal experience in two prominent digital installations, Doug Aitken’s I’m in You and Random International’s Rain Room, seeking answers to three central questions: (1) how temporal structures are represented within these installations, (2) how the audience contributes to the formation and modulation of temporal experience, and (3) how these experiential modes relate to contemporary narrative theories. To address these questions, the research employed Paul Ricoeur’s philosophical model of mimesis alongside Marie-Laure Ryan’s theories of narrative, interactivity, and experiential narrativity. The methodological approach was grounded in qualitative analysis, focusing on the visual, auditory, spatial, and interactive elements that shape the viewer’s sensory and cognitive engagement with the works. The findings indicate that in both installations, temporal experience does not emerge through traditional linear, sequential, or language-based frameworks; instead, it unfolds through nonlinear, multilayered structures that are activated and continually reshaped by audience participation and multisensory immersion. Within Ricoeur’s tripartite model, the initial phase of mimesis1 (prefiguration) is enacted through the audience’s first perceptual and affective encounter with the installation environment; mimesis2 (figuration) materializes in the interplay of multimedia components that generate fragmented, nonlinear, or open-ended narrative constellations; and mimesis3 (refiguration) arises as the audience synthesizes these encounters into a subjective, reflective, and often transformative interpretation of time. Complementing this, Ryan’s emphasis on embodied interaction, procedurality, and multi-layered narrativity illuminates how temporal experience is co-constructed through the participant’s physical presence, sensory feedback, and agency within the installation. Whereas I’m in You frames time primarily through memory, image layering, and perceptual displacement, Rain Room reconstructs time through bodily negotiation, responsive environmental cues, and the heightened awareness of an extended present. https://jisva.neyshabur.ac.ir/article_236818.html The Great Ilkhanid Shahnameh, with the influence of Mongol, Chinese, and Central Asian arts, presented remarkable innovations in composition, design, and the use of color. This historical and artistic background gives special importance to the study of color in the illustrations of this Shahnameh, because color in these works not only has a decorative aspect, but also carries emotional, symbolic, and semantic messages. The purpose of this research is the analysis of color in three selected illustrations from the Great Ilkhanid Shahnameh, including “Alexander and the Talking Tree”, “Alexander Builds the Iron Wall”, and “Alexander Enthroned”, based on Johannes Itten’s theory and the recognition of the effect of colors on visual experience and the viewer’s feelings. Considering the aim of the research, this question is raised: how is the analysis and study of the application of color in the Great Ilkhanid Shahnameh according to Itten’s color theory?The samples were selected purposefully and based on the criteria of subject (the theme of battle and wisdom), the preserved quality of the colors, and access to reliable versions. Access to the samples was provided through domestic libraries and museums, and the analysis of colors was carried out based on color contrasts, color temperature, and their psychological effects. The results show that in the illustration “Alexander and the Talking Tree”, cold and mysterious colors create a sense of thought, contemplation, and introspection; in the illustration “Alexander Builds the Iron Wall”, warm and dynamic colors convey a sense of energy, movement, and collective will; and in the illustration “Alexander Enthroned”, the combination of royal and balanced colors evokes magnificence, peace, and dignity. These findings emphasize that colors in the Ilkhanid illustrations not only have a decorative role, but also are a powerful tool for narration and creating a unique visual experience https://jisva.neyshabur.ac.ir/article_236819.html Anthony Welch's The Artists for the Shah stands as one of the most significant and meticulously detailed scholarly works in the field of Persian painting, particularly concerning the Safavid period, while simultaneously providing a foundation for comparative analysis among the prominent painters of this era. Beyond examining the leading painters of this period, the book investigates the history of album-making (muraqqa') production, as well as the emergence of non-courtly patrons, studying them in distinct categories according to their social status. Consequently, a critical analysis of this book proves essential for a more rigorous examination of the transition of painting from the Qazvin school to the Isfahan school, and for introducing artists such as Siyavush Beg, Sadiqī Beg, and Riza 'Abbasi. Moreover, as previously noted, engagement with this book assumes particular importance in understanding how art patrons entered the artistic sphere during this period. The present study first addresses the significance of critiquing the aforementioned book and the context of its composition, subsequently examining its content through categorized analytical components. Finally, formal and substantive critiques of the book are presented, with reference to specific chapters and the sequential frameworks employed in studying the painters. The research findings demonstrate that Anthony Welch's The Artists for the Shah constitutes a valuable resource for investigating the economic, political, social, and cultural dimensions of the Safavid period, as well as the nature of Safavid royal patronage of the arts. Furthermore, this book provides an exemplary methodological model for studying the works of Siyavush Beg, Sadiqī Beg, Riza 'Abbasi, and the patrons of this period, as well as for conducting comparative studies of the works of Sadiqī and Riza 'Abbasi. Beyond the aforementioned considerations, the unprecedented patronage of merchants and even artists themselves during this period establishes a foundation for future research on this significant phenomenon.