پژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220Breaking the Perceptual Siege in the Context of the Ramadan War: The Convergence of Art, Politics, and Sociology in Shifting Global Perceptions of Iranشکست محاصره ذهن‌ها در بستر جنگ رمضان: همسویی هنر، سیاست و جامعه‌شناسی در تغییر نگاه جهانی به ایران72724613210.22083/ssa.2026.580486.1129FAمحمد رضاحسنائیاستاد ، دانشکده هنر ، دانشگاه بین المللی سور ، تهران ، ایران.
Hosnaee@art.ac.ir0009-0009-4350-1378Journal Article20251222Introduction: The twenty-first-century global order has increasingly been shaped by digital communication networks, platform infrastructures, and visual media ecosystems. In this context, the exercise of power extends beyond military and economic capabilities to include the capacity to shape narratives, representations, and public perceptions across transnational networks. This study examines changing representations of Iran in digital media following the Post-Ramadan War (1405 HS/2026 AD) and explores how visual communication, digital cultural production, and networked publics may challenge established geopolitical narratives. Drawing on Manuel Castells’ theory of network power and Annmarie Slaughter’s framework of networks and state power, the article investigates the relationship between military events, digital representation, and the construction of international legitimacy.<br>Methods: The study employs a qualitative interpretive approach informed by network society theory, media studies, and visual culture research. It analyzes a range of digital artifacts, including visual content, online narratives, user-generated media, artistic productions, and meme-based communication circulated across social media platforms following the Ramadan War. The analysis focuses on how visual narratives were produced, disseminated, and interpreted within networked communication environments, and how these narratives interacted with dominant geopolitical representations of Iran.<br>Findings: The findings suggest that digital networks provided opportunities for alternative representations of Iran to circulate beyond traditional media gatekeeping structures. Visual storytelling, user-generated content, and digitally mediated cultural production contributed to the emergence of competing narratives that challenged established perceptions. The study identifies the growing significance of visual communication in contemporary geopolitical struggles and highlights the role of strategic memes, digital art, and networked participation in shaping public discourse. The analysis further indicates that the interaction between military events and their visual representation played an important role in influencing audience interpretations and generating symbolic forms of legitimacy within online environments.<br>Conclusion: The study argues that contemporary geopolitical influence increasingly depends on the ability to establish narrative visibility and communicative legitimacy within digital networks. The case examined here illustrates how visual representation functions as a strategic dimension of power alongside conventional political and military resources. The findings contribute to debates on network power, digital geopolitics, and visual communication by demonstrating how competing actors seek to influence global perceptions through networked media environments. More broadly, the research suggests that struggles over representation, visibility, and narrative authority have become central components of power in the digital age.این پژوهش به بررسی مکانیسم‌های زیبایی‌شناسی و فروپاشی کلان‌روایت «ایران‌هراسی» در دوران پسا-جنگ رمضان (1405 ه-.ش) می‌پردازد. هدف اصلی، تبیین این موضوع است که چگونه «قدرت شبکه‌ای» نظام سلطه در ایجاد یک «قرنطینه ادراکی» و طراحی بصری مسموم پیروز بود، اما در مواجهه با وقایع میدانی، دچار گسست معرفت‌شناختی شد. تحلیل حاضر نشان می‌دهد نبرد رمضان به‌عنوان یک «رخداد صلب»، توانست «حقیقت عریان میدان» را از لایه‌های برساختۀ رسانه‌ای عبور داده و از طریق تولیدات هنری در «رسانه‌های مویرگی» به وجدان جهانی تزریق کند. این پدیده که «شورش الگوریتمیک» نامیده شده، با بهره‌گیری از «نشانه‌شناسی مم‌های هنری استراتژیک»، منجر به بازتعریف مفهوم دشمن در ذهن شهروندان غربی گشت و تمرکز خشم اجتماعی را از ایران به سمت نخبگان فاسد داخلی در غرب سوق داد. در این گذار، قدرت از منطق «صفحه شطرنج» (رقابت نظامی) به منطق «تاروپود شبکه» (و گرامر بصری حاکمیت معنا) منتقل شد. نتیجه این تحول، تغییر جایگاه ادراکی ایران از یک «سوژۀ منزوی» به یک «الگوی الهام‌بخش» است. مقاله حاضر نتیجه می‌گیرد که ایران با پیوند زدن تجسّم بصری اقتدار نظامی با اخلاق متعالی، توانست «حاکمیت روایتی» خود را در جهان پسا-سلطه تثبیت کرده و به یک «مرجع ادراکی» برای تعریف جدیدی از استقلال و کرامت انسانی تبدیل شود.https://ssa.ricac.ac.ir/article_246132_30d3a19eff394d06f0c2ab5593d9b4b1.pdfپژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220The Representation of At-Risk Futures in the Animated Film WALL-Eبازنمایی آینده‌های در معرض خطر در انیمیشن سینمایی وال-یی294924659310.22083/ssa.2026.586100.1136FAهدیهرستمیدانشجوی کارشناسی ارشد، گروه تحقیقات هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.
hediye.rostami@modares.ac.ir0009-0000-3451-2766علی اصغرفهیمیفراستادیار گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. (نویسنده مسئول)
fahimifar@modartes.ac.ir0000-0003-4705-7357Journal Article20251231Introduction: This study explores how animated cinema constructs environmental futures through the intersection of environmental sustainability, ecocinema, and dystopian futurity. It argues that sustainability should be understood not only as environmental protection but also as preserving the conditions for future livability amid ecological uncertainty. While ecocinema research has largely focused on environmental themes and ecological crises, it has paid less attention to how cinematic form imagines and constructs the future itself. To address this gap, the study introduces the At-Risk Futures framework, which examines how environmental futures are shaped through the interaction of ecological instability, cinematic representation, and dystopian imagination. WALL-E serves as the case study to evaluate the explanatory value of this proposed analytical framework.<br>Methods: This study employs a qualitative research design using directed qualitative content analysis, combining interpretive film analysis with theory-driven coding. Guided by the concepts of environmental sustainability, ecocinema, and dystopian futurity, it examines how environmental futures are constructed in audiovisual narratives. The analysis focuses on meaningful audiovisual sequences, exploring cinematic world-building, spatial organization, temporality, technological mediation, agency, and audiovisual composition. Rather than identifying environmental themes alone, the study investigates how these elements collectively portray the future as fragile and environmentally contingent. WALL-E was selected as the case study because it effectively integrates ecological degradation, technological dependence, and environmental regeneration within a coherent cinematic world, making it an appropriate example for evaluating the proposed analytical framework.<br>Findings: The analysis shows that WALL-E portrays environmental futures as fragile and continuously negotiated rather than predetermined. Instead of presenting ecological collapse as final or restoration as guaranteed, the film depicts the future as suspended between environmental decline and renewal. Through its spatial design, audiovisual style, temporality, and cinematic world-building, WALL-E transforms ecological instability into an immersive experience. The contrast between the abandoned Earth and the technologically controlled Axiom highlights different forms of environmental unsustainability, while the film’s temporal structure frames environmental crisis as an ongoing process rather than a single catastrophe. The study also demonstrates that technology is neither the sole cause of environmental collapse nor its complete solution; instead, it mediates ecological relationships. Ultimately, the film suggests that environmental futures are shaped through the interaction of ecological degradation, technology, and cinematic representation, making the future a fragile condition whose survival depends on the continual renegotiation of ecological, technological, and cultural relationships.<br>Conclusion: The study argues that environmental futures in WALL-E are not fixed destinations but fragile and evolving possibilities shaped by the interaction of ecological vulnerability, technology, and cinematic representation. It introduces the At-Risk Futures framework, which conceptualizes environmental futures as contingent cultural constructions rather than predetermined outcomes. By integrating environmental sustainability, ecocinema, and dystopian futurity, the framework extends ecocinema research beyond environmental themes to examine how films construct vulnerable futures through narrative, spatial, temporal, and formal strategies. Although developed through the analysis of WALL-E, the framework is applicable to a wide range of environmentally oriented animated films and audiovisual narratives, providing a systematic approach for analyzing how contemporary media represent and negotiate environmentally vulnerable futures.بحران زیست‌محیطی معاصر صرفاً به تخریب طبیعت یا اختلال در نظام‌های زیست‌محیطی محدود نمی‌شود، بلکه به بحرانی در سطح ادراک و تصور آینده نیز تبدیل شده است. ازاین‌رو، فهم نسبت میان پایداری، بازنمایی فرهنگی و تخیل آینده‌محور اهمیت فزاینده‌ای در مطالعات هنر و رسانه یافته است. هدف این پژوهش تبیین چگونگی صورت‌بندی آینده در نسبت میان ناپایداری زیست‌محیطی، بازنمایی اکوسینمایی و آینده‌مندی دیستوپیایی است. بر این اساس، پرسش اصلی پژوهش این است که آینده در انیمیشن سینمایی وال‌یی چگونه از خلال رابطۀ میان ناپایداری محیطی، بازنمایی اکوسینمایی و آینده‌مندی دیستوپیایی شکل می‌گیرد. پژوهش با رویکردی کیفی و مبتنی بر خوانش تحلیلی- تفسیری متن سینمایی و با تکیه بر تحلیل محتوای کیفی هدایت‌شده انجام شده است؛ در این فرایند، معنا نه در عناصر منفرد، بلکه در روابط میان این سه ساحت جست‌وجو می‌شود. یافته‌ها نشان می‌دهد وال‌یی آینده را نه به‌صورت افقی کاملاً مسدود و نه به‌مثابه چشم‌اندازی رهایی‌بخش، بلکه در قالب امکانی تعلیق‌یافته، مشروط و آسیب‌پذیر بازنمایی می‌کند. زمین متروک، انباشت پسماند، میانجی‌گری فناورانه و جهان‌سازی سینمایی، در کنار یکدیگر تجربه‌ای از آینده‌ای ناپایدار و در معرض فرسایش را شکل می‌دهند. بر اساس این یافته‌ها، مفهوم «آینده‌های در معرض خطر» می‌تواند به‌عنوان چارچوبی تحلیلی برای تبیین نحوۀ صورت‌بندی آینده در نقطۀ تلاقی ناپایداری زیست‌محیطی، بازنمایی فرهنگی و تخیل دیستوپیایی به‌کار گرفته شود. این چارچوب، تحلیل بحران زیست‌محیطی را از توصیف پیامدهای تخریب طبیعت فراتر می‌برد و آن را به بررسی شرایط امکان یا تعلیق آینده پیوند می‌دهد.https://ssa.ricac.ac.ir/article_246593_a5c687db285f4d16d83b1e47d24a183f.pdfپژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220Representation of Children’s Rights in Multimodal Text-Image Interactions: A Critical Analysis of the Third-Grade Persian Textbook Based on the Kress and van Leeuwen Frameworkبازنمایی حقوق کودکان در تعاملات چندوجهی نوشتار و تصویر؛ تحلیل انتقادی کتاب فارسی پایه سوم ابتدایی بر مبنای الگوی کرس و ون‌لیوون517624577610.22083/ssa.2026.582887.1134FAمریمجلالیدانشیار، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران. (نویسنده مسئول)
ma_jalali@sbu.ac.ir0000-0002-9674-0059فاطمهبنویدیاستادیار، عضو هیئت علمی فرهنگستان هنر، فرهنگستان هنر، تهران، ایران.
benvidi@honar.ac.irJournal Article20260127Introduction: Primary school textbooks are multimodal educational media that play an important role in children’s civic and legal socialization. Drawing on multimodality theory, this study views meaning as emerging through the interaction of text, images, color, and layout, with visual elements playing a central role in shaping interpretation and values. Although the United Nations Convention on the Rights of the Child emphasizes children’s rights to dignity, participation, identity, and appropriate education, little attention has been given to how these rights are represented visually in textbooks. This study examines how children’s rights are constructed through the interaction of text and image in the illustrated stories of the 2022 third-grade Persian textbook, using a multimodal social semiotic and educational policy perspective.<br>Methods: This study employs a qualitative descriptive-analytical approach based on multimodal social semiotics. Four illustrated stories from the 2022 edition of the Iranian third-grade Persian textbook were selected through purposive sampling. The analysis draws on Kress and Van Leeuwen’s (2006) Grammar of Visual Design, examining representational, interactive, and compositional meanings. Indicators derived from selected articles of the Convention on the Rights of the Child were used to assess how children’s rights are represented in both text and images. The analysis involved multimodal description, systematic coding, identification of rights-related themes, and comparison with the Convention to reveal recurring patterns relevant to educational policy.<br>Findings: The findings show that children’s rights are communicated through the interaction of text and images rather than by either mode alone. Four dominant multimodal patterns emerged. First, education is represented as an experiential process in which images reinforce the emotional and environmental dimensions of learning. Second, rights related to care, protection, and emotional support are conveyed mainly through visual elements such as facial expressions, body language, and spatial relationships. Third, identity and belonging are constructed through cultural symbols, meaningful places, and visual representations of individuality. Fourth, participatory rights are presented through dialogue supported by visual features that emphasize equality, interaction, and mutual respect. However, the analysis also reveals that several rights-including child labor, disability inclusion, and explicit anti-violence themes-receive limited attention, and visual resources are not always used consistently to strengthen rights-based learning.<br>Conclusion: This study confirms that the representation of children’s rights in primary school textbooks is inherently multimodal and cannot be adequately evaluated through textual analysis alone. Meaning emerges from the semiotic division of labor between language and image, consistent with multimodality theory.<br>Importantly, the distribution of meaning between modes is not merely aesthetic but policy-driven. Textbooks function as instruments of curriculum policy, and visual design decisions implicitly communicate institutional priorities. The partial or uneven visual representation of certain rights suggests the absence of explicit multimodal design guidelines within textbook production policies.<br>Accordingly, the study proposes three policy-oriented recommendations:<br>1. revising multimodal design guidelines to integrate children’s rights indicators;<br>2. diversifying visual narratives to include marginalized childhood experiences;<br>3. implementing pre-publication multimodal review mechanisms involving interdisciplinary experts.<br>By linking social semiotics with educational policy analysis, this research contributes a framework for evaluating textbooks as multimodal policy artifacts. It highlights the need for systematic integration of children’s rights principles into both textual and visual dimensions of educational materialsکتاب‌های درسی به‌مثابه رسانه‌های چندوجهی، نقشی بنیادین در جامعه‌پذیری حقوقی کودکان دارند. مسئله اصلی این پژوهش، نارسایی در بازنمایی نظام‌مند و چندوجهی حقوق کودک در داستان‌های مصور کتاب فارسی پایه سوم ابتدایی (چاپ 1402) است. در این پژوهش هدف‌گذاری از تحلیل‌های صرفاً محتوایی به تحلیل سیاست‌پژوهانه، با روش کیفی و با تکیه بر نظریه چندوجهی و گرامر طراحی بصری کرس و ون‌لیوون، انجام شده و در آن به بررسی هم‌نشینی متن و تصویر در 4 داستان مصور پرداخته شده است. راه‌حل‌های سیاستی پیشنهاد شده بر پایه تحلیل داده‌های عینی، شامل «اصلاح الگوی تقسیم کار نشانه‌ای»، «تنوع‌بخشی به روایات بصری برای پوشش حقوق مغفول (مانند کودکان کار و دارای نیازهای ویژه)» و «تدوین دستورالعمل‌های چندوجهی برای طراحان کتاب‌های درسی» است. یافته‌ها نشان می‌دهد با وجود تعامل پویا میان متن و تصویر، خلأهایی در استفاده آگاهانه از ظرفیت‌های بصری برای تبیین کامل پیمان‌نامه حقوق کودک وجود دارد که نیازمند بازنگری راهبردی است.https://ssa.ricac.ac.ir/article_245776_5a6491e2542ac749913a15cc0fc45ba7.pdfپژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220A Study Based on Bildung: the Künstlerroman (Artist Novel) as a Teaching Resource in the Faculty of Artمطالعه‌ای مبتنی بر بیلدونگ: رمان هنرمند به‌مثابه منبع تدریس در دانشکده هنر779824613410.22083/ssa.2026.582531.1132FAفریدهآفریندانشیار گروه پژوهش هنر، دانشکده هنر، دانشگاه سمنان، سمنان، ایران. (نویسنده مسئول)
f.afarin@semnan.ac.ir0000-0001-6299-968Xسیدسامغضنفریکارشناسی ارشد پژوهش هنر، دانشکده هنر، دانشگاه سمنان، سمنان، ایران.
Sam.ghazanfari@semnan.ac.irJournal Article20251130Introducion: This study examines the potential of using narrative sources [particularly the Künstlerroman (artist novel)] in teaching art history courses in art schools. The educational function of narrative has a long historical background. From the Socratic dialogues recorded in Plato’s works to dialogical forms found in Persian literature, narrative has long been intertwined with education. In these dialogues, Socrates guides the audience toward the search for truth through questioning, shaping the learning process along the path of “becoming” and “seeking.” In the Iranian literary tradition, works such as Derakht e Asurik can also be considered dialogical narrative texts whose debate structure carries educational and formative functions.<br>Novels are among the narrative tools that can be employed in both core and supplementary educational activities, particularly through the characteristics of the Bildungsroman, the developmental novel, and especially the Künstlerroman. Within these literary forms, the concept of Bildung explicitly or implicitly shapes their educational and formative orientation. Accordingly, this research seeks to address the following questions: How can the concept of Bildung serve as a theoretical basis for employing the Künstlerroman in art education? And in what ways can the artist novel expand the pedagogical possibilities of teaching art history, particularly the history of painting?<br>Methods: This research is theoretical in terms of its objective and qualitative in its approach, conducted through a descriptive-analytical method. Data gathering was carried out through library research, documentary sources, and digital resources, while the analysis was based on the concept of Bildung and related terminology given to the idea of self-realization and the formation of individual character and related literary genres-particularly the Bildungsroman and the Künstlerroman. It has done to clarify the relationship between narrative, the process of character development, and art education.<br>Findings: Education and formation can be achieved through various methods; however, narrative and dialogue remain among the most effective tools for presenting complex issues in a clear, engaging, and memorable manner. For this reason, genres such as the Bildungsroman, the developmental novel, and the Künstlerroman are fundamentally connected to the trajectory of Bildung and the idea of human self-realization.<br>the Künstlerroman emerged as a branch of the Bildungsroman, focusing specifically on the artist’s journey toward artistic awareness or mastery. These novels, which often resemble fictionalized biographies, convey numerous educational insights throughout the narrative of an artist’s life-from lifestyle and artistic philosophy to experiences of migration, separation from family, psychological sensitivity, spiritual crises, and encounters with the challenges of creative life at different stages.<br>To date, no narrative-based educational resources have been specifically developed for university-level art history courses, such as “General History of Painting,” which typically extend across four semesters. The artist’s novel (Künstlerroman) and writing such novels in terms of Course Syllabus can be useful.<br>Conclusion: Within the semantic spectrum of Bildung, both the individual education and the social and cultural upbringing of a person are considered; a concept that, while focusing on general cultivation, emphasizes the process of human self-realization and personality formation. Education and upbringing can be achieved through various methods, but narrative and dialogue remain among the most effective tools for introducing and discussing complex topics in an eloquent, engaging, and enduring manner. Consequently, genres such as the educational novel (Bildungsroman), the coming-of-age novel, and the artist’s novel (Künstlerroman) are fundamentally tied to the trajectory of Bildung and the ideal of human self-realization. The artist’s novel (Künstlerroman) and writing such novels in terms of Course Syllabus can be useful for “General History of Painting,” which typically extend across four semesters in Art universities in iran.<br>Despite the high potential of such narrative resources, they have been largely neglected as primary or supplementary educational materials in Iranian art faculties. Furthermore, there is a lack of comprehensive, codified educational resources in this area for teaching purposes. This is particularly notable given that courses such as “History of Painting”-which students often find difficult and sometimes tedious despite their importance-could be transformed into more engaging, dynamic, and impactful classes through a narrative-based approach. Naturally, implementing this method requires prepared and suitable resources to mitigate the time-consuming nature of its application during an academic semester. Therefore, systematic research, research projects, and student`s theses could be directed toward filling this gap.<br>Nevertheless, the narrative techniques and methods of character development or growth used by prominent authors and educators can be leveraged to craft “artist novels” with specific educational objectives. Narrative techniques primarily relate to the form and structure of the work, while the cultivation of the artist’s character can be aligned with the concepts of Bildung and the process of inner human formation. Both aspects [the narrative form and the trajectory of character growth] can serve as focal points for authors or instructors when developing educational materials based on the artist’s novel.<br>This study suggests that future researchers focus on analyzing the educational and pedagogical intentions aimed at cultivating a professional painter through existing artist novels in the market, assessing their suitability for integration into current Iranian art faculties. Furthermore, this research proposes that discussing novels with educational functions [works written based on university syllabus with specific educational goals] and pedagogical intentions [fostering individual creativity and the trajectory of becoming a professional painter, based on artist novels] should be prioritized in the policymaking of art education in Iran. Such resources and works have the potential to bridge the gap between academic education, narrative-centric approaches, and the cultivation of student creativity in universities.این پژوهش به بررسی امکان استفاده از منابع داستانی، به‌ویژه «رمان هنرمند»، در تدریس واحدهای تاریخ هنر در دانشکده‌های هنر ایران می‌پردازد. پژوهش با روش توصیفی تحلیلی به این پرسش پاسخ می‌دهد: رمان هنرمند از چه جنبه‌هایی می‌تواند به ظرفیت‌های تدریس تاریخ هنر، به‌ویژه تاریخ نقاشی، بیفزاید. طی کردن مسیر پژوهش و نتایج آن، نشان می‌دهد که استفاده از این منابع در مسیر آموزش می‌تواند به‌عنوان منبع اصلی یا مکمل در برخی دروس به کار رود؛ برای نمونه، مطالعه یک رمان در طول ترم، بازگویی و تحلیل گفت‌وگوها در کلاس، یا بحث گروهی درباره تعاملات و تجربه‌های هنرمند در هر جلسه و دریافت بازخورد از دانشجویان، می‌تواند فرایند آموزش را فعال‌تر و دوام یادگیری مطالب را افزون‌تر کند. این منابع به دلیل روایت‌محور بودن، در حافظه ماندگاری بیشتری دارند و با ایجاد بسترهای گفت‌وگو، تحلیل و مشارکت، فعالیت‌های اصلی و جنبی کلاس را پویا می‌کنند. رمان‌های هنرمند، در صورت تدوین بر اساس فرایند شکل‌گیری شخصیت حرفه‌ای نقاش، می‌توانند به‌طور ضمنی راه‌های خلاقیت هنرمندان، موانع پیش‌رو و دیدگاه آنان نسبت به هنر را به فراگیران منتقل کنند. درنتیجه با رویکردی کیفی، پیوند مفهوم «بیلدونگ» با جهت آموزشی و پرورشی می‌تواند هم آموزش مطالب درسی و هم پرورش یک هنرمند حرفه‌ای را به‌صورت ضمنی محقق کند. مناسبت این پیوند بر اساس رمان هنرمند بازخوانی شده و نقش این نوع روایت‌ها در شکل‌گیری درک عمیق‌تر از مسیر حرفه‌ای هنرمند افزایش مشارکت دانشجویان، بهبود یادگیری و تقویت عاملیت دانشجویان در فرایند تدریس و پرورش شخصیت حرفه‌ایشان برجسته می‌گردد.https://ssa.ricac.ac.ir/article_246134_95e6d4c5700bc8bb6a9623b089b51d94.pdfپژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220Comparing the values of creativity between human-produced and artificial intelligence-produced artworks: Analytical studies on audience perceptionمقایسه ارزش خلاقیت بین آثار هنری تولیدشده توسط انسان و هوش مصنوعی: مطالعه‌ای تحلیلی بر ادراک مخاطب9912924613310.22083/ssa.2026.579414.1127FAالاههغفاری بالانیدانشآموخته کارشناسی ارشد مهندسی فناوری اطلاعات، گروه مدیریت سیستم‌های اطلاعاتی، دانشگاه شیراز، شیراز، ایران.
alahe.ghafari@hafez.shirazu.ac.ir0009-0001-5002-8111فرنوشمعنویدکتری تخصصی هوش مصنوعی، گروه کامپیوتر و فناوری اطلاعات، دانشگاه شیراز، شیراز، ایران .(نویسنده مسئول)
f.manavi@cse.shirazu.ac.ir0000-0001-8526-3237Journal Article20260121Introduction: “The rapid advancement of generative artificial intelligence (AI) technologies has significantly transformed the landscape of artistic production, raising fundamental questions about the nature of creativity, authenticity, authorship, and artistic value. As AI-generated artworks become increasingly sophisticated and accessible, debates have emerged regarding whether machine-generated outputs can be considered genuinely creative or whether creativity remains an inherently human capacity rooted in lived experience, intentionality, and cultural context. These discussions are particularly relevant in fields where artistic expression is closely connected to cultural heritage and personal expression, such as Persian calligraphy and calligraphic paintings.<br>This study aims to compare the perceived creative value of human-created artworks and AI-generated artworks by examining audience perceptions of both forms. Focusing on Iranian calligraphy and calligraphic paintings, the research investigates how viewers evaluate artworks across several dimensions, including originality, creativity, emotional impact, emotional expression, aesthetic quality, typographic structure, and cultural relevance. By exploring audience responses to both human and AI-generated artistic productions, the study seeks to contribute to contemporary discussions on the evolving relationship between art, technology, and creativity.” <br>Methods: This research employed an analytical-comparative approach using both quantitative and qualitative methods. A selection of human-created artworks, primarily consisting of Persian calligraphy and calligraphic paintings, was chosen as the basis for comparison. These artworks were subsequently recreated using generative AI tools to produce corresponding AI-generated versions while maintaining similar visual themes and stylistic characteristics.<br>Data were collected through a structured questionnaire containing both closed-ended and open-ended questions. The study involved 100 participants representing diverse levels of artistic knowledge and experience, including art students, professional artists and art experts, and members of the general public. This diverse sample was selected to ensure a broad range of perspectives and to provide a realistic representation of audience perceptions.<br>Participants were asked to evaluate both human-created and AI-generated artworks according to predefined criteria, including originality, creativity, emotional impact, emotional expression, aesthetic appeal, quality of lettering and composition, and cultural compatibility. Quantitative data were analyzed using descriptive statistical methods and mean score comparisons, while qualitative responses were examined through thematic analysis to identify recurring perceptions and interpretive patterns.<br>Results: The findings indicate that AI-generated artworks possess notable strengths in terms of visual diversity, technical execution, stylistic variation, and production speed. Many participants acknowledged the ability of AI systems to generate visually appealing and innovative compositions that can successfully imitate artistic styles and produce aesthetically engaging results.<br>However, human-created artworks consistently received higher evaluations in areas related to cultural authenticity, emotional depth, personal expression, and the communication of lived experience. Participants frequently associated human artworks with intentionality, artistic identity, and meaningful emotional narratives that were perceived as less evident in AI-generated works. The results suggest that viewers often interpret creativity as more than the production of novel visual forms; they also connect it to human experience, cultural memory, and the conscious intentions of the artist.<br>Qualitative analysis further revealed that participants viewed AI as a powerful creative tool rather than an independent creative agent. While AI-generated artworks were appreciated for their efficiency and visual innovation, many respondents questioned their capacity to convey genuine emotions or cultural understanding without human guidance. The audience generally perceived the artistic value of AI-generated works as dependent upon the creative input, direction, and decision-making processes of human users.<br>Discussion: The results of this study highlight the continuing significance of human creativity in artistic production despite the growing capabilities of generative AI technologies. Although AI systems demonstrate remarkable potential for generating visually sophisticated and aesthetically compelling artworks, they are not perceived by audiences as fully replacing the cultural, emotional, and experiential dimensions that characterize human artistic expression.<br>The findings suggest that creativity in the age of artificial intelligence should be understood as a collaborative process rather than a competitive relationship between humans and machines. AI functions most effectively as a creative partner that expands artistic possibilities while remaining dependent on human intention, interpretation, and cultural awareness. Consequently, the concept of creativity requires reconsideration within contemporary technological contexts, recognizing both the innovative capacities of AI and the irreplaceable contributions of human experience.<br>This research contributes to interdisciplinary discussions at the intersection of art, technology, aesthetics, and audience studies, and provides a foundation for future investigations into the evolving role of artificial intelligence in artistic creation and evaluation.با گسترش ابزارهای مولد هوش مصنوعی در تولید آثار هنری، پرسش از ماهیت خلاقیت، اصالت و ارزش هنری بیش از پیش به کانون مباحث نظری و عملی هنر معاصر راه یافته است. این مقاله با هدف مقایسه ارزش خلاقیت در آثار هنری تولیدشده توسط انسان و آثار تولیدشده به‌واسطه هوش مصنوعی، به بررسی ادراک مخاطبان از این دو نوع اثر می‌پردازد. پژوهش حاضر با رویکردی تحلیلی– تطبیقی و با تمرکز بر شاخص‌هایی همچون اصالت، خلاقیت، تأثیر عاطفی، بیان عاطفی هنرمند، زیبایی‌شناسی، ساختار حروف و تطابق فرهنگی تلاش می‌کند، تفاوت‌ها و شباهت‌های ادراکی میان هنر انسانی و هنر مولد هوش مصنوعی را روشن سازد. بدین منظور، مجموعه‌ای از آثار هنری انسانی با تمرکز بر خوشنویسی و نقاشی‌خط ایرانی انتخاب و سپس با استفاده از ابزارهای هوش مصنوعی بازآفرینی شدند. داده‌های پژوهش از طریق پرسش‌نامه‌ای کمی و کیفی و با مشارکت 100 نفر مشارکت کننده از گروه‌های مختلف به لحاظ تخصصی و تجربی در زمینه هنر شامل هنرجویان، کارشناسان هنر و مخاطبان عمومی گردآوری شد و انتخاب این نمونه به دلیل تنوع دیدگاه ها و انعکاس واقعی ادراک مخاطبین بود. پس از گردآوری داده ها، تحلیل داده‌ها با روش‌های آماری، برآورد میانگین و تحلیل تماتیک انجام شد. یافته‌ها نشان می‌دهدکه اگرچه آثار تولیدشده توسط هوش مصنوعی از نظر تنوع بصری و سرعت تولید قابل توجه‌اند، اما در شاخص‌هایی نظیر اصالت فرهنگی، عمق عاطفی و انتقال تجربه زیسته، آثار انسانی همچنان جایگاه برتری دارند. نتایج این پژوهش بر ضرورت بازاندیشی در مفهوم خلاقیت در عصر هوش مصنوعی تأکید می‌کند و نشان می‌دهد که خلاقیت ماشین، بیش از آن‌که جایگزین خلاقیت انسانی باشد، در تعامل و هدایت انسانی معنا می‌یابد. این مقاله می‌کوشد با ارائه تحلیلی بین‌رشته‌ای، به درک عمیق‌تر میان هنر، فناوری و ادراک مخاطب کمک کند.https://ssa.ricac.ac.ir/article_246133_0e09e18a79c03750615a8e12fa667330.pdfپژوهشگاه فرهنگ، هنر و ارتباطاتفصلنامه مطالعات هنر2981-250X4420260220Application of Panofsky’s Three-Tier Theory in the Interpretation of Timurid Painting:A Case Study of the Miniature “The Supplication of Shah Shapur and His Vizier to the Ascetic” from the Manzume *Mehr and Moshtariکاربست نظریه سطوح سه‌گانه پانوفسکی در خوانش نگارگری تیموری: مطالعه موردی نگاره «طلب یاری شاه شاپور و وزیر از زاهد» از منظومه «مهر و مشتری»13115224568210.22083/ssa.2026.579847.1128FAشهلاحبیبی نیاکارشناس ارشد پژوهش هنر،دانشکده هنر و معماری و شهرسازی،دانشگاه آزاد اسلامی،واحد نجف آباد،اصفهان،ایران. (نویسنده مسؤل)
shahla.habibinia@iau.ir0009-0007-2830-8225سید احسانروح الامیناستاد پژوهش هنر، دانشکده هنر و معماری و شهرسازی،دانشگاه آزاد اسلامی،واحد نجف آباد،اصفهان،ایران.
e.rouholamin@iau.ac.ir0009-0008-3355-5826Journal Article20260109Introduction: Timurid miniature painting represents one of the most significant achievements of Persian visual culture, distinguished not only by its aesthetic sophistication but also by its capacity to convey complex ideological, political, and spiritual meanings. Among the visual narratives produced during this period, The Appeal of King Shapur and His Minister to the Pious Hermit occupies a distinctive position because of its rich symbolic content and its depiction of the relationship between royal authority and spiritual guidance. While previous studies of Timurid painting have primarily focused on stylistic characteristics, artistic attribution, and historical context, relatively few have examined the deeper semantic structures embedded in such works through a systematic iconological approach.<br>This study addresses this gap by analyzing the selected miniature through Erwin Panofsky’s theory of iconology. It explores how meaning is constructed within the image and how concepts such as legitimacy, authority, spirituality, and governance are communicated through visual signs. By examining the relationship between pictorial elements and broader cultural discourses, the study seeks to reveal the ideological foundations underlying the composition and visual organization of the painting.<br>Methods: This research adopted a qualitative interpretive approach based on documentary and library research. The data consisted of scholarly sources on Timurid art, Persian miniature painting, iconography, and Panofsky’s theory of iconology. The selected miniature was analyzed using Panofsky’s three-stage interpretive model. The first stage, pre-iconographical description, examined the formal and visual characteristics of the work, including its composition, figures, gestures, color scheme, architectural elements, and spatial organization. The second stage, iconographical analysis, identified the narrative themes, symbolic motifs, and culturally recognizable subjects represented in the painting. The third stage, iconological interpretation, explored the intrinsic meaning of the work by relating its visual structures to the social, political, religious, and intellectual context of the Timurid period.<br>This analytical framework enabled a progression from the description of visual forms to the interpretation of the cultural meanings and ideological messages embedded in the artwork.<br>Findings: The analysis indicates that the miniature is organized around a carefully constructed visual hierarchy that conveys a meaningful relationship between temporal power and spiritual authority. The arrangement of figures, the direction of their gazes, and the spatial positioning of the king, the minister, and the hermit together create a symbolic system that extends beyond the illustration of a literary narrative.<br>At the pre-iconographical level, the composition establishes a clear visual distinction between the royal figures and the ascetic hermit. Differences in posture, scale, and spatial placement emphasize the spiritual figure and direct the viewer’s attention toward him. Color symbolism further reinforces these distinctions by communicating ideas of authority, humility, and sanctity.<br>At the iconographical level, the painting represents a familiar narrative motif in Persian literary and visual traditions: the encounter between worldly rulers and spiritual sages. Such encounters commonly function as moral narratives that emphasize the superiority of wisdom and spiritual insight over political power. The king and his minister’s appeal to the hermit symbolizes the recognition of a form of authority that transcends royal status.<br>At the iconological level, the miniature reflects a broader ideological discourse characteristic of Timurid culture. The hermit functions as a symbolic mediator whose spiritual authority legitimizes temporal rule. Rather than portraying political and spiritual spheres as competing forces, the painting presents them as complementary and mutually reinforcing. Royal authority is depicted as requiring spiritual legitimacy, while spiritual authority acquires broader social significance through its association with political leadership.<br>The findings further demonstrate that the visual elements operate as cultural signs communicating values central to Persian-Islamic political thought. Through the interaction of compositional structure, symbolic imagery, and narrative content, the miniature constructs a discourse of legitimacy grounded in the integration of kingship and spiritual authority. Accordingly, the work should be understood not merely as an illustration of a literary episode but as a visual articulation of the dominant ideological principles of Timurid society.<br>Conclusion: The application of Panofsky’s iconological framework demonstrates that The Appeal of King Shapur and His Minister to the Pious Hermit contains multiple layers of meaning that extend far beyond its apparent narrative content. The painting should be understood as a complex visual text in which political, spiritual, and cultural discourses converge. Through its symbolic organization, the miniature articulates a conception of legitimacy founded on the relationship between temporal sovereignty and spiritual authority.<br>The findings confirm that Timurid miniature painting fulfilled not only aesthetic functions but also important ideological and cultural roles. The visual language of the selected work illustrates how artistic representation contributed to the construction and reinforcement of social values and political beliefs. Moreover, the study demonstrates the value of Panofsky’s iconological framework for interpreting Persian miniature painting and uncovering the deeper meanings embedded in its visual culture. By examining the interaction between image, ideology, and historical context, this research contributes to a more comprehensive understanding of the symbolic dimensions of Timurid art.نگاره «طلب یاری شاه شاپور و وزیر از پیر عابد» از آثار قابل‌توجه نگارگری دوره تیموری است که فراتر از بازنمایی یک روایت ادبی، واجد لایه‌های متعددی از معنا و دلالت‌های عرفانی، سیاسی و فرهنگی است. باوجود اهمیت چنین آثاری، بسیاری از پژوهش‌های پیشین عمدتاً بر جنبه‌های سبک‌شناختی، تاریخی و انتساب هنری تمرکز داشته‌اند و کمتر به تحلیل شمایل‌شناختی نظام‌مند آن‌ها پرداخته‌اند. ازاین‌رو، پژوهش حاضر باهدف تبیین سازوکارهای تولید معنا در این نگاره و بررسی چگونگی بازنمایی مفاهیمی چون مشروعیت، اقتدار و معنویت، بر مبنای نظریه شمایل‌شناسی اروین پانوفسکی انجام‌شده است. این پژوهش با رویکردی کیفی و به روش توصیفی تحلیلی و با استفاده از منابع کتابخانه‌ای و اسنادی صورت گرفته است. نگاره موردنظر در سه سطح پیش‌شمایل‌نگارانه، شمایل‌نگارانه و شمایل‌شناسانه تحلیل شد تا از توصیف عناصر بصری به تفسیر معانی نهفته و زمینه‌های فرهنگی و ایدئولوژیک آن دست یابد. یافته‌ها نشان می‌دهد که سازمان‌دهی فضایی اثر، جهت نگاه شخصیت‌ها، سلسله‌مراتب پیکره‌ها و کارکرد نمادین رنگ‌ها، تقابلی معنادار میان قدرت سیاسی و اقتدار معنوی ایجاد می‌کند. درعین‌حال، این تقابل به‌نوعی هم‌پوشانی و تعامل ایدئولوژیک میان دو حوزه منجر می‌شود. پیر عابد در این ساختار به‌عنوان واسطه‌ای معنوی ظاهرشده و نقشی اساسی در مشروعیت بخشی به قدرت دنیوی ایفا می‌کند. بر این اساس، نگاره را می‌توان بازتابی از گفتمان مشروعیت در فرهنگ تصویری دوره تیموری دانست؛ گفتمانی که بر پیوند میان سلطنت و مرجعیت عرفانی استوار است. ازاین‌رو، اثر حاضر نه صرفاً تصویری روایی، بلکه متنی نشانه‌ای و گفتمانی است که معنا در آن از طریق تعامل رمزگان‌های بصری، عرفانی و سیاسی تولید و تثبیت می‌شود.https://ssa.ricac.ac.ir/article_245682_096135323eb501be05d1fe0650881ad6.pdf