Semiotic analysis of form and meaning in Vakil mosque in Shiraz

• Main Authors: negin laripour, Dadvar Abolghasem
• Format: Article
• Language: fas
• Published: The Institute of Islamic Art Studies 2019-03-01
• Series: هنر اسلامی
• Online Access: http://www.sysislamicartjournal.ir/article_91557_c79cb907679980ede24270ac5997898c.pdf

Symbolism is one of the old principles of human thought that has been shown in the works of art since the beginning of its periods of life, and according to Islamic views, the symbol is the apparent and secular aspect of spiritual nature. The religious artist in the expression of concepts and the giving of material means to them is the use of the language of allegory. Among the positions of the appearance of symbols in Iranian art is architecture. Considering the meaningful capabilities of the mosque architecture, using the semiotic method, we will analyze the symbolic concepts and spiritual meanings of these artistic works. The elements that are considered as symbols are considered to be functional and have become symbolic over time. The method of research is descriptive-historical, with a semiotic approach based on the theory of "Charles Saunders Pierce" to examine his pattern in the secondary implications of decorative motifs and the architecture of the mosque in the Vakil mosque of Shiraz, as part of a semiotic study and try to It is to examine the decorative elements and physical elements of the mosque and the effect they have on translating their meanings and concepts. At first, using the method of shooting and observing the amount and type of signs used and in the next section, we will analyze and review each of their images and symbols in the architecture of the mosque attorney. This research shows that in the art of Islamic times less iconic signs are used, and in cases where these signs are present, the artist frees it from the implication of similarity and gives it a semantic meaning. Also, attention to the relationship that the artist makes between the signifier and signified can reveal his artistic visions. It can be said that the motifs and signs of the Vakil mosque of Shiraz lawyer were somewhat Iconic, and somewhat Indexical. During the time, the signs were developed towards symbolic and contractual terms, or in other words, compared with real signs or symbols, the Index became diminishing to some extent, and the Icon went even further into decline.