Document Type : Original Article
Authors
1 PhD Student in Art Studies - Faculty of theories and art studies - University of Arts-Tehran-Iran
2 Assistant Professor of Philosophy of Art-Faculty of theories and art studies - University of Arts-Tehran-Iran.
Abstract
Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.
Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.
Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative).
Keywords
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