چکیده:
City is the most complicated and tangible creature of man. There is a critical mutual communication
between human and city; and the effect of one’ living environment is beyond question. Graffiti is a new urban phenomenon, which has drawn attention in light of its connection with protestation culture and street art. Thanks to symbolism of graffiti, the artists have added mysterious aspects to their work and distinguished themselves from formal culture. Social protestation is the most notable feature of the graffiti found in Iranian cities. However, to the best of our knowledge, there has been no notable research work in Iran on the relationship of human, society, and existence from
of graffiti symbolism viewpoint in particular. The present study is an attempt to survey and evaluate common symbols used on urban graffiti through documentary research. Technique and content analysis in stratified semiology based on Iranian-Islamic culture were taken into account.
خلاصه ماشینی:
A Semantic Approach to Urban Graffiti from Semiotics Viewpoint 1Siamak Panahi, 2*Nazanin Bahrami Samani , 3Anosha Kia 1Associate Professor, Islamic Azad University, Abhar, Branch, Iran.
Graffiti, Street art, Semiology, Symbol, Vandalism INTRODUCTION Cities are centers of cultural and social activities so that one can witness the most disciplined and elegant appearance of cultural and artistic works in cities.
ironic arbitrational indirect associational llustrator Adaptation Visual and complex direct perceptional Fig. 2: Non-verbal behaviors based on semantic encoding method urban signs physic function meaning physical properties of Signs Functional significance associational The characteristics underlying of signs time significance perceptional Users type Fig. 3: The three elements of urban signs and the variables (Linch, 1992; Rapaport, 2005) Graffiti The term graffiti (singular: graffito), from Italian root, refers to pictures or works painted in public spaces on walls or bridges so that they can be easily seen by the public.
Among herbal Existence Animal Pleasure human Logical Divine Semantic Fig. 5: Anthropology from Imam Ali’s viewpoint The physical universe Lowermost Heaven Supreme heaven Intellectua l world and the world of invention The world of divine names and attributes the World of divine Essence Fig. 6: Islamic gradations of existence Wisdom Self ascend arc creatures are created by God descent arc creatures return to craetor SelfNature Nature Substance Fig. 7: Gradations of existence from Mulla Sadra viewpoint physical properties of Signs The characteristics underlying of signs physic Functional significance Nasot universe Nasot universe Malakote Asfal auniverse Malakote Aala universe Herbal level Herbal and Animal level Animal level Animal and human level Graffiti as a means of protest Graffiti as a means of advertising Graffiti as a behavior Graffiti as a style llustrator Adaptation time significance Users type perceptional function meaning Jabarot universe human level Graffiti as a ideology ironic associational Lahot universe Divine level Graffiti as a pure art Fig. 8: Final model of graffiti semiotics variety of approaches to foundations of anthropology and man’s perception consequently, Iranian-Islamic urban identity was under focus here and, therefore, Islamic anthropology was followed.