Semiotic Analysis of the Portrayal of Hazrat Ali (AS) in a Selection of Paintings from the Manuscript of Ahsan al-Kebar in Golestan Palace

Iranian painting and Persian literature have a long-standing and close relationship. Iranian painters in different periods have created original works inspired by literary themes. One of the most brilliant artistic periods in Iran is the Safavid era. With the support of the art-loving Safavid governors, the art of book design and painting was placed at the top of the arts, and in the royal workshops numerous illustrated manuscripts were prepared. Arts were placed and many illustrated copies were prepared in the royal workshops.

The emergence of the Safavid dynasty was in the 10^th century AH/ 16^th century AD. It was a turning point in the history of Iran. By forming the central government and formalizing the Shia religion, the Safavid government established a unified and centralized political and ideological system in the country. In this way, a new chapter was opened in the culture and art of Iran. The religious tendencies of the Safavid kings and the ruling ideology in this period pushed the cultural and artistic trends in the direction of strengthening nationalism and promoting Shia jurisprudence. The Safavid rulers showed support and honor to the Shia scholars which provided a suitable ground for the promotion of Shia texts. During this period, many treatises and books were written and translated on Shia religious and theological principles, hadiths and traditions related to it, as well as the virtues of the infallible Imams (AS). In the shadow of the rule of the Shiite religion and the favorable political and social situation for the expression of Shiite opinions, a large number of artists devoted themselves to illustrating religious books. Iranian painters with devotion to Ahl al-Bayt (AS) illustrated works in the service of introducing the pure Imams (AS) and their virtues. One of the most common themes of these works is related to the life of Hazrat Ali (AS). His high position in Islam, as well as the great interest and respect of the Shiites towards that Imam, have led to the formation of many works about his sublime character, virtue and destiny. The unique personality of Hazrat Ali (AS) in qualities such as justice, courage, honesty, generosity, dedication, piety, etc. has caused him to be remembered as a legendary figure in Islamic culture and art, which is a clear example in the art of painting. It can be seen sincerely that Iranian painters have always tried to show the dimensions of Ali's personality by depicting parts of his life. These works express the heart's love and affection and the deep spiritual connection of the Shiites towards the Holy Prophet in the position of governorship. The depiction of religious subjects in the history of Iranian art has a long history and can be traced back to the first manifestations of civilization in the corners of Iranian civilization.

Believers' artists paid attention to the fact that art can be a good vehicle for conveying a religious message and its impact on the audience. Image is considered the most important and necessary tool to express the truth. Ahsan al-Kebar's illustrated version of Golestan Palace is one of the Shiite illustrated versions of the Safavid period, whose subject is the life of the infallible Imams (AS) and the important events in the history of Islam. The discovery of the hidden layers in the picture of this version is an important step in identifying a Shiite work with a semiotic approach; the necessity of this research.

The aim of the present research is to investigate the characteristics of the iconography of Hazrat Ali (AS) in the paintings of Ahsan al-Kebar based on the visual semiotics approach and to discover the hidden layers in the visual signs used in his images.

The authors are trying to answer these questions: "What implicit concepts do the visual signs used in the portrait of Hazrat Ali (AS) indicate?"

The present research method is based on the fundamental goal in the framework of visual semiotics and is considered analytical in terms of its descriptive nature. The number of samples consists of 5 images which are purposefully selected from 17 images. The findings based on documentary studies show that the painter has created spatial visual elements appropriate to the themes of the assemblies with the help of visual arrangements and appropriate selection, and turned them into meaningful elements. In addition to that, the symbolic systems and codes, used in these paintings, are influenced by the cultural contexts and the prevailing values in Shiite thought, which are in a coherent and coordinated relationship and a chain of companionship relationships. Some aspects indicate the personality dimensions of Hazrat Ali (AS).