Document Type : Original Article
Authors
1 Master of Painting., Isfahan University of Art. Faculty of Visual Arts
2 Tarbiat Modares University
Abstract
The meaning of an illustrated story is to express a narrative formed by successive pictures, therefore, in other words, it is also Comic Strip. If we want to take a deeper look at the field of the story or illustrated narration, it can be said that their background goes back to the wall paintings of the cave dwellers and ancient paintings which, over time, in different societies, have become models for the transfer of concepts and knowledge through the use of text and pictures together, To the extent that people, whether literate or illiterate, could get more or less the author's message by looking at the manuscripts with the spice of the picture. Manga is a term to refer to a special type of illustrated story in Japan, which is a collection of sequential pictures and its roots go back to around the twelfth century. Similar to the existing background for Japanese manga, in the traditional artworks of Iran, in the same way, in most cases, text and pictures have served each other. The texts and sometimes the poems in some visual versions have been descriptive or narrators of events in some cases, it was not possible to read the work without the presence of the text, or it was difficult or impossible for the public to understand the text without the help and presence of the picture illustrated stories are still produced in Iran on a much smaller scale, but in a global comparison, it does not have a local appearance, or in other words, it does not carry Iranian traditional and cultural elements. For this reason, this research, with the hypothesis of the existence of a common visual basis in the illustrated stories of Iran and Japan, seeks to do so with a comparative study between the functions of the visual elements in the visual works of Iranian lithographs and Japanese manga. Osamu Tezuka's Buddha, which will reveal a lot of visual information, realizes the capabilities of Iranian works to produce contemporary illustrated stories as well as new artistic products such as animation and anime. The selection of two case examples in this research was because Japanese manga is printed in black and white due to its high popularity and cost savings. Also, Iranian lithographic works are black and white in most cases, not using the element of color in the two categories of works will make the matching of visual elements easier to some extent. Dealing with the topic of this research can be considered a clear example of the role of popular media in the successful preservation of some ancient cultural and artistic forms that are subject to being forgotten due to the review and influence of other works. It should be noted that research has also been conducted in line with the case examples in question, but these researches have not been comparative, referring to traditional Iranian works and comparing them with mangas, and for this reason, this research is new.
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