Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220Analyzing Truth and Time in the Conservation and Restoration of Cultural HeritageAnalyzing Truth and Time in the Conservation and Restoration of Cultural Heritage5188230410.22034/bagh.2019.82304FASoodabeh YousefnejadArt university of tehran0000-0003-0500-9496Mohammad Mansur FalamakiIslamic Azad University, Tehran, Iran.Journal Article20190130Statement of Problem: The confrontation of restoration and truth oriented to the problem of time is investigated in this article. With the erosion of the work in the environment based on the type of inorganic or organic matter, a question arises for the restorer, how is the truth evaluated in the worn-out work? The challenge of the existence of the work in the past, or its current state of deterioration as a truth, is a problem which the restoration always faces, and responding to it by time analysis can determine the approach and the selection of conservation method for the work’s survival. <br />Objective: the current study aims to create a time oriented theory for determining the position of the truth of the work as an entity in the present or the past. <br />Research method: In this research, truth has been studied based on the theories of time, with the theoretical foundations of phenomenology. Accordingly, the truth hidden in the mask of the material of the work related to the human existence, and from other aspects, the truth as the existence of the work in the past or its current condition in the present has been discussed. <br />Conclusion: With the phenomenological view, the dependence of truth on the human existence gives to the work a protective status. In addition, the theory proposed in this article determines the truth of the work as an existence in the present or past, based on time theories and can create the theoretical foundations for selecting suitable restoration methods to optimally protect and maintain the work. By accepting the theory of dynamic time, there is no past; there is only present time, and the truth consists in the entire existence of the work in the present, not a thing left in the past, that, by eliminating the surface layers of the work, the restoration pursuits it; the totality of the existence of the work in the present is conserved and maintained for transmission to the future. In the theory of static time, with a chronological look at time, there is past, and the truth of the work is its past. With a reference to valid documentation, the existence of the past of the work is restored in the present.Statement of Problem: The confrontation of restoration and truth oriented to the problem of time is investigated in this article. With the erosion of the work in the environment based on the type of inorganic or organic matter, a question arises for the restorer, how is the truth evaluated in the worn-out work? The challenge of the existence of the work in the past, or its current state of deterioration as a truth, is a problem which the restoration always faces, and responding to it by time analysis can determine the approach and the selection of conservation method for the work’s survival. <br />Objective: the current study aims to create a time oriented theory for determining the position of the truth of the work as an entity in the present or the past. <br />Research method: In this research, truth has been studied based on the theories of time, with the theoretical foundations of phenomenology. Accordingly, the truth hidden in the mask of the material of the work related to the human existence, and from other aspects, the truth as the existence of the work in the past or its current condition in the present has been discussed. <br />Conclusion: With the phenomenological view, the dependence of truth on the human existence gives to the work a protective status. In addition, the theory proposed in this article determines the truth of the work as an existence in the present or past, based on time theories and can create the theoretical foundations for selecting suitable restoration methods to optimally protect and maintain the work. By accepting the theory of dynamic time, there is no past; there is only present time, and the truth consists in the entire existence of the work in the present, not a thing left in the past, that, by eliminating the surface layers of the work, the restoration pursuits it; the totality of the existence of the work in the present is conserved and maintained for transmission to the future. In the theory of static time, with a chronological look at time, there is past, and the truth of the work is its past. With a reference to valid documentation, the existence of the past of the work is restored in the present.http://www.bagh-sj.com/article_82304_0a4220900f3a24bd5789a2598c96aabd.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220Reading glorification face and flattery in visual repercussion of the two artworks attributed to honored custom eulogy in Iranian cultureReading glorification face and flattery in visual repercussion of the two artworks attributed to honored custom eulogy in Iranian culture19288230510.22034/bagh.2019.82305FANasrin Sattari Najaf AbadiIsfahan Art University, Iran.Marzieh Piravi VanakSchool of Advanced research in Arts and Entrepreneurship, Art University of Isfahan, Iran.Zohreh TabatabaeiHandicrafts College, Art University of Isfahan, Iran.Jalil JokarHandicrafts College, Art University of Isfahan, Iran.Journal Article20190130In spite of many researchers’ viewpoints who regard honored custom eulogy deed of Iranian culture as originated from flattery blamed deed and related to achieving material interests in the king’s court, it seems that there existed a mysterious look at the glorification face meaning the highest level of holiness for honored custom of ancient societies in the court of Iranian governmental superiors and probably this mysterious face and hidden face in the visual system such as the ancient petro graphs remains and painting schools of Islamic period has been reflected. <br />The present study is an attempt to both investigate the theoretical fundamentals of the honored custom historically and find a reply to this question "how can we deal with the reading of glorification face in honored custom eulogy of Iranian culture using implied conformity of glorification face and flattery in the two samples of ancient time petro graphs and Islamic period painting?" <br />Studying and clarifying glorification face and separating it from flattery attributed to honored custom eulogy while paying attention to its visual repercussion in the Islamic and ancient period of Iranian culture in parallel with eulogy implied meanings. <br />Exploiting a historical research method based on documentary method in relation to describing Iranian culture related to the honored custom eulogy deed and intertextuality reading on two artworks based commands of Roland Barthes semantics system for the purpose of implied interpretation for glorifying praising poems in the theoretical fundamentals method to the ideology governing on honored custom eulogy culture based on intertextuality approach. <br />In this study, in reading the two inter-field texts from the ancient petro graphs area and Islamic period painting of Iranian culture, each text emphasizes a probable concept showing holiness so that, as Barthes said, via understanding semantic pluralism of each text and its implied meanings, the visual elements of texts attributed to eulogy get separated from the concepts of flattery released by the contemporary theorists. The results indicate that contrary to the viewpoint that regard the eulogy deed as related to the honored custom present in the court of places attributed to Iranian kings and adapted from materialistic motive, probably the mentioned deed be of a holy face and toward an absolute unique order called glorification. Having access to such probable conclusion with a comparative analysis from the sample of remained cultural works which have continuously had an implicit connoted language and by leaving openness and direct meaning, reaching implicit and indirect meaning is possible. As Barthes, in his own semantic commands system ,has regarded the first semantic level meaning clear and direct as an introduction for entering the second level meaning implied so that we can have access to the Ideology governing the culture of historical times of old societies. Based on this, the honored custom eulogy has existed in Iranian cultural context from the old time to the Islamic age and the legend or the ideology governing, it ignoring a blameworthy look at the eulogists while paying attention to the glorification face which was regarded as holy in the advent of poetry and its emergence place toward the governor, has been able to influence the created works and the concept related to the mentioned deed in different cultural periods of Iran. And a reflection of the thinking legend in each period in connection to previous periods of eulogy for the kings honored custom from those works will be obtained.In spite of many researchers’ viewpoints who regard honored custom eulogy deed of Iranian culture as originated from flattery blamed deed and related to achieving material interests in the king’s court, it seems that there existed a mysterious look at the glorification face meaning the highest level of holiness for honored custom of ancient societies in the court of Iranian governmental superiors and probably this mysterious face and hidden face in the visual system such as the ancient petro graphs remains and painting schools of Islamic period has been reflected. <br />The present study is an attempt to both investigate the theoretical fundamentals of the honored custom historically and find a reply to this question "how can we deal with the reading of glorification face in honored custom eulogy of Iranian culture using implied conformity of glorification face and flattery in the two samples of ancient time petro graphs and Islamic period painting?" <br />Studying and clarifying glorification face and separating it from flattery attributed to honored custom eulogy while paying attention to its visual repercussion in the Islamic and ancient period of Iranian culture in parallel with eulogy implied meanings. <br />Exploiting a historical research method based on documentary method in relation to describing Iranian culture related to the honored custom eulogy deed and intertextuality reading on two artworks based commands of Roland Barthes semantics system for the purpose of implied interpretation for glorifying praising poems in the theoretical fundamentals method to the ideology governing on honored custom eulogy culture based on intertextuality approach. <br />In this study, in reading the two inter-field texts from the ancient petro graphs area and Islamic period painting of Iranian culture, each text emphasizes a probable concept showing holiness so that, as Barthes said, via understanding semantic pluralism of each text and its implied meanings, the visual elements of texts attributed to eulogy get separated from the concepts of flattery released by the contemporary theorists. The results indicate that contrary to the viewpoint that regard the eulogy deed as related to the honored custom present in the court of places attributed to Iranian kings and adapted from materialistic motive, probably the mentioned deed be of a holy face and toward an absolute unique order called glorification. Having access to such probable conclusion with a comparative analysis from the sample of remained cultural works which have continuously had an implicit connoted language and by leaving openness and direct meaning, reaching implicit and indirect meaning is possible. As Barthes, in his own semantic commands system ,has regarded the first semantic level meaning clear and direct as an introduction for entering the second level meaning implied so that we can have access to the Ideology governing the culture of historical times of old societies. Based on this, the honored custom eulogy has existed in Iranian cultural context from the old time to the Islamic age and the legend or the ideology governing, it ignoring a blameworthy look at the eulogists while paying attention to the glorification face which was regarded as holy in the advent of poetry and its emergence place toward the governor, has been able to influence the created works and the concept related to the mentioned deed in different cultural periods of Iran. And a reflection of the thinking legend in each period in connection to previous periods of eulogy for the kings honored custom from those works will be obtained.http://www.bagh-sj.com/article_82305_06de9651c7c7ee247585d38f3f23e251.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220Analysis of Quranic Counter-discourse in Two Miniatures of Joseph in Prison and Jonah and the fish from Shah Tahmasebi’ s FalnamaAnalysis of Quranic Counter-discourse in Two Miniatures of Joseph in Prison and Jonah and the fish from Shah Tahmasebi’ s Falnama29388230710.22034/bagh.2019.82307FAArezoo Paydar FardPh.D. Condidate in Islamic Art University of Tabriz & Faculty member of University of Birjand, Iran.0000-0002-7950-1136Mehdi Mohammad ZadehIslamic Art University of Tabriz, Iran.0000-0003-1521-4469Hassan Bolkhari GhehiUniversity of Tehran.Journal Article20190130Quranic discourse of miniature requires understanding the relationship between the text (Quran) and miniatures. Semiotics reveals the meaningful relationships of miniatures by discovering the relationship of signs with each other. Accordingly, the most important questions of the present research are: How did the counter-discourse or divine support mentioned in the Quran appear in the miniature of the two Prophets? And what pictorial relations reflect the Quranic discourse meaning? <br />Aim: This study is an attempt to show how the meaning is received in a pictorial narrative provided by miniature; because divine counter-discourse is analyzable in miniatures of Prophets. <br />Methodology: This study used discourse semiotics analysis as methodology and data were collected from available sources and two miniatures were selected from an English catalogue titled "Falnama" prepared by Masoumeh Farhad. <br />Results: The results of this study can be summarized as follows: 1. Discourse semiotics establishes a relationship between Quranic concepts and miniature. 2. Divine support from a Prophet is identified not only by presenting a miracle, but also divine support could appear in a dark prison or through swallowing by a whale. <br />In this semantics, the conflict between the dark and halo around the head of the Prophet, the contradiction between the plans, the action and connection of the angels’ hands with Prophet Jonah, the rotating composition and etc. are involved in understanding the interfacing factor.Quranic discourse of miniature requires understanding the relationship between the text (Quran) and miniatures. Semiotics reveals the meaningful relationships of miniatures by discovering the relationship of signs with each other. Accordingly, the most important questions of the present research are: How did the counter-discourse or divine support mentioned in the Quran appear in the miniature of the two Prophets? And what pictorial relations reflect the Quranic discourse meaning? <br />Aim: This study is an attempt to show how the meaning is received in a pictorial narrative provided by miniature; because divine counter-discourse is analyzable in miniatures of Prophets. <br />Methodology: This study used discourse semiotics analysis as methodology and data were collected from available sources and two miniatures were selected from an English catalogue titled "Falnama" prepared by Masoumeh Farhad. <br />Results: The results of this study can be summarized as follows: 1. Discourse semiotics establishes a relationship between Quranic concepts and miniature. 2. Divine support from a Prophet is identified not only by presenting a miracle, but also divine support could appear in a dark prison or through swallowing by a whale. <br />In this semantics, the conflict between the dark and halo around the head of the Prophet, the contradiction between the plans, the action and connection of the angels’ hands with Prophet Jonah, the rotating composition and etc. are involved in understanding the interfacing factor.http://www.bagh-sj.com/article_82307_07d421701e27c78d638b62904d49ed17.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220The Structural Analysis of Illumination Designs in the Paintings of Ibrahim Mirza’s Haft AwrangThe Structural Analysis of Illumination Designs in the Paintings of Ibrahim Mirza’s Haft Awrang39508230910.22034/bagh.2019.82309FAMaryam AziminezhadIsfahan University of Art, Iran.Alireza KhajehAhmad AttariAssistant professor at Isfahan University of Art, Iran.Samad Najarpoor JabbaryAssistant professor at Isfahan University of Art, Iran.Bahareh Taghavi NejadAssistant professor at Isfahan University of Art, Iran.Journal Article20190130A statement of the Problem: One of the richest sources of Iranian art is the miniature painting in which the use of beautiful and well-designed motifs are abundantly visible in the forms of geometric, abstract or naturalistic motifs. Such motifs can also be seen in different branches of this art, including illumination and Shepherd. The illustrated version of Jami’s Haft Awrang, illustrated in the 16th century A. D. and in Mashhad School, is one of the most famous and valuable manuscripts of the Safavid period. The harmonization of the traditions in Herat and Tabriz Schools during the Safavid period and combining it with native and regional features of Mashhad miniature painting has led to the creation of 28 beautiful paintings. This illustrated version has a number of illuminated decorations representing a rich collection of decorative motifs of the Safavid period. <br />Research Objectives: The present study aimed at analyzing the illumination designs used in the images of the Haft Awrang and also examining their features such as form, color, place of application and the way these designs have been used. <br />Methodology: Data collection has been conducted with reference to written sources and the obtained data has been examined using a descriptive-analytical method. <br />Research questions: <br />- What are the qualities of design and motifs in the images of Haft Awrang? <br />- How is the use and method of illumination in the illustrated version of the Haft Awrang? Conclusion: The results obtained from the investigation of the images in Ibrahim Mirza’s Haft Awrang indicate that the illumination motifs used in Haft Awrang images, mostly include multi-petal flowers and Palmette flowers, and Khatayi designs as well as combined Khatayi and Arabesque designs have been most frequently used in the illumination patterns of this illustrated manuscript. Illumination designs have been depicted on the surfaces of buildings, tile works, minarets and domes, carpets and rugs, tents, and occasionally in humans’ clothing and animal coverlets. Also, these designs have played a significant role in promoting the decorative glory of the images and adjusting the composition of the paintings. The plurality of the designs and decorative motifs in this illustrated manuscript represents the decorative arts of the Safavid period and provides the virtuosos with a comprehensive collection of Iranian decorative motifs in one of the most flourishing periods in Iranian history of art.A statement of the Problem: One of the richest sources of Iranian art is the miniature painting in which the use of beautiful and well-designed motifs are abundantly visible in the forms of geometric, abstract or naturalistic motifs. Such motifs can also be seen in different branches of this art, including illumination and Shepherd. The illustrated version of Jami’s Haft Awrang, illustrated in the 16th century A. D. and in Mashhad School, is one of the most famous and valuable manuscripts of the Safavid period. The harmonization of the traditions in Herat and Tabriz Schools during the Safavid period and combining it with native and regional features of Mashhad miniature painting has led to the creation of 28 beautiful paintings. This illustrated version has a number of illuminated decorations representing a rich collection of decorative motifs of the Safavid period. <br />Research Objectives: The present study aimed at analyzing the illumination designs used in the images of the Haft Awrang and also examining their features such as form, color, place of application and the way these designs have been used. <br />Methodology: Data collection has been conducted with reference to written sources and the obtained data has been examined using a descriptive-analytical method. <br />Research questions: <br />- What are the qualities of design and motifs in the images of Haft Awrang? <br />- How is the use and method of illumination in the illustrated version of the Haft Awrang? Conclusion: The results obtained from the investigation of the images in Ibrahim Mirza’s Haft Awrang indicate that the illumination motifs used in Haft Awrang images, mostly include multi-petal flowers and Palmette flowers, and Khatayi designs as well as combined Khatayi and Arabesque designs have been most frequently used in the illumination patterns of this illustrated manuscript. Illumination designs have been depicted on the surfaces of buildings, tile works, minarets and domes, carpets and rugs, tents, and occasionally in humans’ clothing and animal coverlets. Also, these designs have played a significant role in promoting the decorative glory of the images and adjusting the composition of the paintings. The plurality of the designs and decorative motifs in this illustrated manuscript represents the decorative arts of the Safavid period and provides the virtuosos with a comprehensive collection of Iranian decorative motifs in one of the most flourishing periods in Iranian history of art.http://www.bagh-sj.com/article_82309_b446b070c6a16f6336f2e4dc62145cbe.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220Explanation and Evaluation the Impact of Environmental Factors on the Formation of Behavioral Patterns in Urban Spaces
(From Theory to Practice: Study of Tajrish Square)Explanation and Evaluation the Impact of Environmental Factors on the Formation of Behavioral Patterns in Urban Spaces
(From Theory to Practice: Study of Tajrish Square)51668231310.22034/bagh.2019.82313FANavid PaknezhadPh.D. Student, Department of Architecture and Urban Planning, Qazvin Azad University, Qazvin, Iran0000-0002-0946-4720Gholamreza LatifiFaculty of Social Sciences, Allameh Tabatabaei University, Tehran, Iran.Journal Article20190130Statements of problem: The presence of people in urban areas with the aim of "being in space" is one of the components contributing to vitality of urban spaces, which leads to the promotion of social relationships, the increase of natural security, the sense of belonging to the place by increasing the possibility of occurrence of individual and collective memories and reducing the crime rate in the city. Finding the right solution to find the basis for the design of spaces is a problem that has been particularly striking urban architects and designers in recent years and refers to the necessity of this research. The lack of non-mental methods that can be used to study and analyze behaviors in space, both in architecture and in urban planning, is quite tangible. <br />Goal: The purpose of the present research is to explain the forms of occurrence and behavioral patterns in urban spaces. By studying one of the important urban spaces of Tehran, Tajrish Square, we try to provide a comprehensive analysis based on the recognition of behavioral patterns in this urban space. The main question of this research is about the relation of various dimensions of urban space with the formation of behavioral patterns. Other questions are also raised, including: What are the different dimensions, criteria, and indicators of urban space affecting behavioral patterns? What is the impact of different dimensions, criteria, and indicators mentioned on occurrence of different behaviors of citizens in the urban space, and in particular in Tajrish square? <br />Research method: For the analysis of urban spaces, Tajrish Square has been selected as an urban space with high level of actions and diverse activities. Qualitative analysis and observation using behavioral mapping techniques, interviews, and photo analysis were conducted to assess the status and to answer the research questions. <br />Conclusion: In this research it is proved that various behavioral patterns including walking, standing and sitting is under the influence of three main components of functional-activity (including indicators of variability of land use, type of activity, public activity and type of Urban sidewall), environmental-physical (including indicators of passages and access roads, flexibility, facilities and services, valuable perspectives and visual qualities) and cultural-social (including indicators of social presence features and social interactions). Behavioral patterns are heavily influenced by land use and presenting amenities in urban spaces that encourage citizens to develop different behavioral patterns. The visual qualities are one of the important criteria for making communication between strangers in the urban space and the indicator of selective activities in inspecting the criteria of social interactions is strengthened or weakened by environmental conditions.Statements of problem: The presence of people in urban areas with the aim of "being in space" is one of the components contributing to vitality of urban spaces, which leads to the promotion of social relationships, the increase of natural security, the sense of belonging to the place by increasing the possibility of occurrence of individual and collective memories and reducing the crime rate in the city. Finding the right solution to find the basis for the design of spaces is a problem that has been particularly striking urban architects and designers in recent years and refers to the necessity of this research. The lack of non-mental methods that can be used to study and analyze behaviors in space, both in architecture and in urban planning, is quite tangible. <br />Goal: The purpose of the present research is to explain the forms of occurrence and behavioral patterns in urban spaces. By studying one of the important urban spaces of Tehran, Tajrish Square, we try to provide a comprehensive analysis based on the recognition of behavioral patterns in this urban space. The main question of this research is about the relation of various dimensions of urban space with the formation of behavioral patterns. Other questions are also raised, including: What are the different dimensions, criteria, and indicators of urban space affecting behavioral patterns? What is the impact of different dimensions, criteria, and indicators mentioned on occurrence of different behaviors of citizens in the urban space, and in particular in Tajrish square? <br />Research method: For the analysis of urban spaces, Tajrish Square has been selected as an urban space with high level of actions and diverse activities. Qualitative analysis and observation using behavioral mapping techniques, interviews, and photo analysis were conducted to assess the status and to answer the research questions. <br />Conclusion: In this research it is proved that various behavioral patterns including walking, standing and sitting is under the influence of three main components of functional-activity (including indicators of variability of land use, type of activity, public activity and type of Urban sidewall), environmental-physical (including indicators of passages and access roads, flexibility, facilities and services, valuable perspectives and visual qualities) and cultural-social (including indicators of social presence features and social interactions). Behavioral patterns are heavily influenced by land use and presenting amenities in urban spaces that encourage citizens to develop different behavioral patterns. The visual qualities are one of the important criteria for making communication between strangers in the urban space and the indicator of selective activities in inspecting the criteria of social interactions is strengthened or weakened by environmental conditions.http://www.bagh-sj.com/article_82313_3517b739c81068edc6c1b75341df4758.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635156920190220A Study of Three Contemporary Works of Art with Social Content from a Semiological Point of View: Generative Trajectory of Meaning ApproachA Study of Three Contemporary Works of Art with Social Content from a Semiological Point of View: Generative Trajectory of Meaning Approach67768231610.22034/bagh.2019.82316FASedigheh Ahmadian BaghbaderaniFaculty of Art and Architecture Islamic Azad University Center-TehranJournal Article20190130The art and artist play an important role in the conservation of values, human goals and showing social wishes and behaviors. Works of art affected by social and cultural events are important actors. If these works are introduced and investigated in the semiology studies of arts, they can improve the explanation enrichment and achievements of this kind of researches. Also, they can increase the knowledge and understanding of cultural and artistic domains of society. <br />The presented is an attempt to answer the following question: How one could achieve the study and analysis of a work of art through semiology studies and meaning generative flow method and reach its hidden trueness and concepts? <br />It is assumed that such studies lead to a better understanding of society’s art and culture. This could be achieved by considering the dominant discursive systems and notational style and properties of the works. <br />The aim of this research is to evaluate and identify sign elements of chosen works, in order to obtain the background and hidden meaning aspects in different layers and to demonstrate how the acts and relationships of different elements can form an interactive and meaningful discourse. <br />The research is a descriptive-analytic strategy in nature. To this purpose, works with social content were selected. In addition to study the theoretical aspect, this method investigates the most important backgrounds of the production of these works’ concepts in the meaning generative flow process based on the Greimas study pattern. It also covers the appearance of meaning in the text through signs, elements relations and the study and analysis of deep structures. <br />The research results show that artistic discourses and different oppositional relation can be analyzed using a semiological perspective and generative trajectory of meaning and find out their semantic significations. Also, discovering hidden concepts in the works could lead to a better and more conscious knowledge of society and its evolutions. Data were gathered from available resources in the mass media.The art and artist play an important role in the conservation of values, human goals and showing social wishes and behaviors. Works of art affected by social and cultural events are important actors. If these works are introduced and investigated in the semiology studies of arts, they can improve the explanation enrichment and achievements of this kind of researches. Also, they can increase the knowledge and understanding of cultural and artistic domains of society. <br />The presented is an attempt to answer the following question: How one could achieve the study and analysis of a work of art through semiology studies and meaning generative flow method and reach its hidden trueness and concepts? <br />It is assumed that such studies lead to a better understanding of society’s art and culture. This could be achieved by considering the dominant discursive systems and notational style and properties of the works. <br />The aim of this research is to evaluate and identify sign elements of chosen works, in order to obtain the background and hidden meaning aspects in different layers and to demonstrate how the acts and relationships of different elements can form an interactive and meaningful discourse. <br />The research is a descriptive-analytic strategy in nature. To this purpose, works with social content were selected. In addition to study the theoretical aspect, this method investigates the most important backgrounds of the production of these works’ concepts in the meaning generative flow process based on the Greimas study pattern. It also covers the appearance of meaning in the text through signs, elements relations and the study and analysis of deep structures. <br />The research results show that artistic discourses and different oppositional relation can be analyzed using a semiological perspective and generative trajectory of meaning and find out their semantic significations. Also, discovering hidden concepts in the works could lead to a better and more conscious knowledge of society and its evolutions. Data were gathered from available resources in the mass media.http://www.bagh-sj.com/article_82316_390a9d23fb69a012d6365c7d39900787.pdf