بررسی مضامین و مفاهیم نمادهای تصویری خیر و شر در نسخه چاپ سنگی طوفان البکا

The scenes of battle and epic in Tufan Al-Buka are a clear manifestation of the conflict between right and wrong and represent the conflict between good and evil . Artists illustrator of the Qajar period, Using the method of symbolization, the illustrator portrays the concepts of good and evil in symbolic human, animal and visual elements.The existing ones have manifested. Belief in the problem of good and evil in Iranian Persian literature, epic poems, national poems and other religious books Islam has been reflected and many congregations have appropriated Persian lithographic and illustrated copies. The existing ones have manifested. In the narrations of this book, the conflict between good and bad is visible Is. The aim of this article is to examine the personalities of the images and the concepts of the symbols of good and evil, as well as the study. The design features and characterizations of the mentioned images. The present research is to find the answers to these questions: 1- Pictorial symbols What are the characteristics of "good and evil" used in the pictures in terms of image and meaning? 2- design features and personality What are the processings done in the images? The research method in the current study is is analytical-descriptive, and its information is obtained by conducting research and library studies, and the statistical population is 12 samples of book images. The results obtained from the analytical and descriptive representation of symbols There is an image of "good and evil" in the selected paintings, which shows the symbols of "good" of Imams Athar (pbuh), Zul-Jansah, Zul-Faqar, Duldul and Angels. and occult aids and... are symbols of "evil" infernal beings, the sword, the owner of hell, the dragon and the devil, and... which to describe the filth, darkness And the powers of the soul have been used. Based on the investigations of the issue in question about the characteristics of the symbol design index .The image of "good and evil" in the paintings, it can be said that the artist of the Qajar era according to the beliefs and beliefs of the people, by using The themes of good and evil, he has tried to honestly draw simple pictures and away from any problems. Therefore, most of the compositions have been formed with a sensory and tasteful reception, with smooth lines, without respecting the real proportions and outside the scope of the formal art education system .The most important goal of the painter in showing the characters of good and evil is to convey a message from the stories, to teach and learn from There have been life events.The available images have dynamic and powerful compositions with scattered, irregular and dense hashing. Short limbs compared to the background, often round faces and big heads in the faces and irregular thick roots or exaggerated movements. In the face of evil characters, ideal beauty and lack of emotional reaction in the face of good characters, failure to observe proportions in most images and Positional perspective with little attention to the size of figures, dynamics and expression, avoiding decorations, strong and dark distances, composition Diffuse and dense at the same time, creating dimension with shadows- less highlights or even punctuation, more correct proportions of organs and Elongation and decorations of clothes in the images of Qajar angels and women, more detailing of the background along with mesh shading and shading in Most of the pictures, the considered and natural designs of humans and especially animals and related elements, the correct connection of "good and evil" characters with The existing compositions, human coverings consistent with the Qajar period, very skillful and appropriate animal design, and at the same time It can be expressed in these pictures. In these images, the way of design, the placement of figures and dynamic compositions was obvious and The designs represent characteristics such as diverse and sometimes static texture and spatialization, animated states of the characters, and deliberate linear. and dense and scattered are used to reveal sensitive situations. Non-observance of proportions and background in most images of good and evil It is evident that dynamism and expressiveness flow away from decorations and pay more in the form of order and symmetry. In symbolism, forms Expressive and other existing elements of Qajar period painting style are visible and are influenced by the characteristics of Iranian painting. The illustrators of this period are three skill, Firstly, designing the pictorial symbols of "good" and "evil" of humans, animals and superhuman beings, secondly, their composition, and thirdly, paying The figures with special movements in special situations and according to the linear distance and body design of the characters, taken from Iranian painting and returning to the paintings of ancient Iran, have been performed with a special and remarkable master and expertise.