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CULTURAL STUDIES ISSN 2356-5926
Explicit and Implied Denotation Analysis of the Pattern of Motifs of Holy
Mir Motahar (AS) Shrin 1
Atieh Youzbashi
Master of visual communication, Faculty of Art, Shahed University, Tehran, Iran
Responsible writer: [email protected]
Parviz Eghbali
Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran
Abstract
Getting to know the Imamzadeh (shrine) and its features will lead to the recognition of
semiology, in semiology, the meaning of explicit and implied is concepts of some facts. The
meaning of explicit is described with a phrase such as “definition” <Literal meaning>, <evident
meaning> or < the meaning are based on received by common sense>. “Implied meaning”
refers to its hidden meaning. The way of making research is based on descriptive and analytical
nature and the data collecting is synthetic. The sampling is non-random (selective) and there are
seven plant patterns of Damavand city of Tehran province and analysis of information are
qualitative.
In this study after a review of various kind of motifs used in the holy shrine of Mir Motahat (AS)
shrine, the amount of these pattern confusion are revealed by semiotic concepts and its explicit
and implied meaning are stated. At first the basic articles regarding to semiology are addressed,
then the holy shrine of Mir Motahar (AS) has been introduced. Motifs and its features is included
in tables and three pattern were discussed. This article is standing to check the figures of visual
patterns, traditional roots and symbolic meaning of motifs.
Keywords: Motifs, Semiology, Chandler, Explicit and Implied Denotation, Holy Shrine of
Mir Motahat (AS), Absard, Damavand city.
1
This Article is extracted from AtiehYouzbashi masters dissertation, visual connection with the
title “Semiology study of Shrine geometric patterns of Damavand city of Tehran province,
Faculty of Art, Shahed University, Tehran, Iran, December 2014”
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An Introduction to Semiology.
Information era is full of concepts and empty of them, almost all the intellectual movement and
cultural branches are related to semiology. (Study of signs) and it is logical because semiology
has always been a part of philosophy, communications, psychology, anthropology, psychology
of art and literature, cinema and generally all fields of human activity which includes sign and
symbols. (Doubtlessly there is a specific type of signs that is analyzed semiologically). Because
of the importance of this science, we can say that the understanding the contemporary art and
literature is too difficult without knowing the elements of aesthetics. If we want to define
semiology in a simple way we can call it the regular and orderly study of all the elements which
are effective in the emergence of the signs. (Nouri, 1385)
Although the roots of semiology goes back in history of Plato and Augustin, semiology as an
independent theory was defined in the twentieth C by the works of Charles Andres Pierce and
Ferdinand de Saussure in 1985. By the publication of semiology of the structure by Claude LéviStrauss, semiology was provoked in a new way. Semiology was at its peak when it was adapted
with psychologically fundamental by Jaques Lcon, although earlier in 1900 in Sigmond Freud’s
dream interpretation, It was implied. (Audio, visual, kinectic, linguistic,..) and the formation
process of the sign is in the study of signification. And we cannot separate the signification from
the subject which means, we cannot separate it from the persons who has defined and used it in
daily life. And also we cannot separate it from the cultural system. (Emilianersisians, P.1). Justin
Luis believe that a sign has no physical existence. Signification is not formed inside the sign.
Sign is given signification, in other words, signification does not depend on a word or anything
that a sign substitues with. Theoretical proximity of the words; signification, subject, symbolic
order; for a long time were obvious for the readers of Freud and Lacoun. Theoretical
transformation of signification refers to the subject and symbolic order. This science is one
which deals with the works and signs as a part of our social life. (Nouri, 1385)
By paying attention to the different approaches of semiology which have been achieved since
Saussure and Pierce and also by background of this science throughout the history of art,
literature, philosophy, medicine, astronomy, and by paying attention to the new approaches of
semiology and its proximity to the science like linguistic and the changes resulted from
structuralism and post-structuralism (resulted from post-structuralism), investigation in this
science has become very important.
The purpose of this research is not to extend the studying fields of semiology and relaxed
branches and is not to discover new issues and ways to analyze different semiological issues.
Semiology has different fields which include: texts, advertising texts, literary text, audio visual
multimedia text, like radio, television, Cinema although all the ideas of the critics of this branch
include visual issues as well.
The main orientation of the critics is language and speech more than picture. (Saussure and his
followers). Most of the critics of the semiology emphasizes on language, speech, text, except a
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few visual issues such as photography, and parts of Cinema. For example: from visual signs to
text by Babak Ahmadi. Here the way of investigation is descriptive, analytic, because first of all
in the field of linguistic and semiology, we work on “signified” and “signifier” and the ideas of
pierce. Specially, the triple orientation has been mentioned. (Symbol, Index, Face)
Explicit and Implied Denotation
Every word could have an implied meaning rather than its literal meaning (its explicit meaning).
In semiology, implied and explicit meaning is concepts related to the signified and signifier and
they are differentiated by the type of the signified. (Sojoodi, 1387, p.77) implied signified and
explicit signified is described by the word definition <literal meaning><clear meaning><general
meaning> (Chandler, 2007, p.137). Implied meaning refers to the social, cultural, personal
(emotional, ideological) images. Bart believes that the sign patterns of Saussure just imply the
explicit meaning and he has not consider and analyzed the implied meaning and this important
job is left for the next critics (like himself) (Bart, 1967, p.89 ; Sojoodi, 1387, p.87)
For the art historian, Ervin Panofsky, the explicit meaning of a visual picture is what is perceived
by all the beholders from any culture or time. (Panofsky, 1970, p.3-51 ; Chandler, 1386, p.257)
Bart believed in pictorial message and picture clarity means, in pictography we could not
separate the implied meaning from the explicit meaning. (Bart, 1977, p.15-31 ; Chandler, 1386,
p.208). Valentin Veloshinof insisted that we cannot purely differentiate between implied and
explicit meaning, because reference meaning changes by our valuation, meaning is always
influenced by judgment (Veloshinof, 1973, p.105 ; Chandler, 1386, p.209). Rolan Bart accepted
the perspective of Luie Belzonof that there are different steps in meaning. Explicit meaning after
reference to something leads to a series of implied meaning.
Ervin Panofsky, European art historian, claims that explicit meaning in all pictures of visual art
is what perceived by anyone who has contact with them. We can say that signs have multiple
meanings and can be exposed to many changes and interpretations. Here is the importance of
explicit or implied meaning. Some claim that explicit meaning deals with digital code and
implied meaning deals with analogue code. As Panofsky has said, in photography the explicit
meaning is what is seen. In his famous book, he has an introduction to media studios, reminding
that a picture shows us something that we face in real world. (Zamiran, p.120)
But the art of photography is in the innovation and taste which reflect what is not obvious in the
picture. In his book, mythology is the common ideology of our time. He believes that meaning
gradation which means explicit and implied meaning, when combined, they make the ideology
which is called by others (not himself) the third meaning. His main theory is that myths have
always turned history to nature. He believes that myths in their society are naturally phenomena.
(Zamiran, p.123)
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Chandler writes about the third meaning,… the first step (explicit meaning) is basically a
manifestation. The second step (implied meaning) is a reflection of values which areconnected to
each sign and the third step (mythological. Ideological) is changing cultural concepts which are
the infrastructure of different ontologies such as manhood, femininity, Shazadi, individualism,
identity,…
Holy Mir Motahar (AS) Shrine
This Seyed Mohammad Gatmir shrine is 18 Km from the southeastern of Damavand city and is
located in Absard. The space is one thousand square meters and the materials of the monument
are stone and wood, the brick arc of the monument is seven meters tall and four meters wide and
the shrine is wooden, earlier the shrine was made of wood. But because of decay, a new one was
made and installed.A monument that is six century old, with an egg like arch, is the shelter and
shrine of the spiritual. The discovery of its subbasement by cultural heritage organization was
remarkable. Including two crossed rectangles, the angle inside and outside have some butts and
regressious that from decorative earing with acrography beneath the arch. The arch of the
monuments is egg like and below that there are thick side and middle walls which tolerate the
heavy weight of the arc and flat ceiling above each cross. In the crosswise area to the back of the
vaults. The covering of the ceiling is in the form of palanquin and it is simple but in the eastern
part of cross it is changed, it seems that, during two previous periods of restoration, these
changes have been made. The middle part beneath the arch is on octagon and in the body there
are octagonal charters in a way that the upper part of that is not covered and maybe it was used
as light supply. And maybe in the past there was a window above which has been removed by
the pass of time. Inside this octagonal charter there are decorative lines with acrography. Brick
ornaments beneath the arc and vaults beneath the stem of the inner arch with plaster plant and
arabesque ornaments are valuable examples of decorative art in this monument, and restoration
of the outside body and covering of the arch was done by cultural heritage organization in 1380.
The body of these monuments is due to 8th C (AH) and in 1832 with the member 8685, it was
recorded in the national places. In this essay three motifs are analyzed, with their implied and
explicit meanings.
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holy Shrine of Mir Motahar (AS), Absard
Name
shrine
of
Damavand, 17 shahrivar Sq, Dashte mazar St, opposite the cemetery
location
Late Safavid era
Date
of
construction
Plaster, mosaics
inside view
materials
Stone, cemon, brick
outside view
materials
plaster from inside
brick from outside
Roof
materials
mosaics
Floor
materials
Nar
Dome kind
No
minaret
Steel, golden, Moshabak
enshrine
5 windows
window
1 entrance door
door
Table 2. The whole Pattern of holy Shrine of Mir Motahar (AS), Absard; source: Negarandegan
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Hori
zont
al
Hori
zont
al
circle
Gildin mo
g tile
sai
cs
triangl Gildin mo
e
g tile
sai
cs
sym geo
bolic metr
ic
sym geo
bolic metr
ic
Motif
locatio
n
motif
name
‫نقش‬
color
Motif
kind
Decorat
ion
kind
Materia
ls kind
Sign
kind
Motif
base
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sition
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Motif
Images
Special
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hexa
gona
l
deco
ratio
n
Turq
uois
e
blue,
whit
e,
blac
k
Ins
ide
wal
l
Cob
alt
blue, Ou
whit tsid
e
e
wal
l
Turq
uois
e
blue,
coba
lt
blue,
gold
en
Hori
zont
al
circle
Gildin mo
g tile
sai
cs
sym geo
bolic metr
ic
deco
ratio
n
Hori
zont
al
rectan
gle
Gildin mo
g tile
sai
cs
sym geo
bolic metr
ic
deco
ratio
n
Trad
ition
al
colo
rs
Ins
ide
wal
l
sym
metr
y
triangl Moldi
e
ng,
gildin
g
pla sym plant Arab
ster bolic
esqu
e,
khet
ai
Trad
ition
al
colo
rs
Ins
ide
wal
l
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Ins
ide
wal
l
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Hori
zont
al
sym
metr
y
Hori
zont
al
sym
metr
y
sym
metr
y
sym
metr
y
sym
metr
y
rectan
gle
Moldi
ng,
gildin
g
pla sym plant Arab
ster bolic
esqu
e,
khet
ai
Trad
ition
al
colo
rs
Arab
esqu
pla sym plant e,
whit
ster bolic
khet e
ai
Ins
ide
wal
l
rectan
gle
Moldi
ng,
gildin
g
diamo
nd
stucco pla sym plant Arab whit
ster bolic
esqu e
e
Cei
lin
g
stucco pla sym plant Arab whit
ster bolic
esqu e
e,
khet
ai
Cei
lin
g
triangl
e
triangl stucco pla sym plant Arab
e
ster bolic
esqu
e,
khet
ai
Cop
per,
whit
e
Arab
esqu
triangl stucco pla sym plant e,
whit
e
ster bolic
khet e
ai
square stucco pla sym plant Arab whit
ster bolic
esqu e
e,
khet
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Ins
ide
wal
l
Cei
lin
g
Cei
lin
g
Cei
lin
g
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ai
sym
metr
y
square stucco pla sym geo
ster bolic metr
ic
sym
metr
y
square etchin
g
emis
sion
sym
metr
y
sym
metr
y
square Enam
el
curry
square etchin
g
oval
Enam
el
curry
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ste
el
mo
sai
cs
ste
el
ste
el
Karb whit
andi e
Cei
lin
g
sym plant Arab silve
bolic
esqu r
e,
khet
ai
ens
hri
ne
Trad
ition
sym picto Arab al
bolic grap esqu colo
hs
e,
rs
khet
ai
sym ‫خط‬
bolic ‫نگاره‬
Arab
esqu
e,
khet
ai
gold
en
Trad
ition
sym plant Arab al,
bolic
esqu gold
e,
en
khet colo
ai
rs
ens
hri
ne
ens
hri
ne
En
shr
ine
top
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sym
metr
y
square Karba
ndi
pla sym geo
ster bolic metr
ic
‫کاربند‬
‫ی‬
Whit ceil
e,
ing
red
sym
metr
y
square Mosai
c
worki
ng,
girih
tiles
mo
sai
cs
deco
ratio
n
Trad
ition
al
colo
rs
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sym geo
bolic metr
ic
Ou
tsid
e
wal
l
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Internal wall pattern of holy Shrine of Mir Motahar (AS), Absard, Cypresstree pattern
Table 3. Internal wall pattern of holy Shrine of Mir Motahar (AS), Absard, cedar tree pattern;
source: Negarandegan
holy Shrine of Mir Motahar (AS): Imam khomeyni Blvd, Imam Hosein St, Tohid Alley,
Ghale Kohne Mahala.
cypress
Traditional
colors
Pattern
name
plant
color
symb
olic
Pattern
name
plaste
r
Pattern
kind
Plaster
epigrap
hy
Sign kind
sym
met
ry
Materials
kind
compositio
n
Pattern
format
Decorating
techniques
Visual Forming Elements: spot, line, volume, surface, Texture
Internal wall
Image 1. The pattern on the wall of internal wall pattern of holy Shrine of Mir Motahar (AS),
Absard, Cypress tree pattern
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Image 2. The pattern on the wall of internal wall pattern of holy Shrine of Mir Motahar (AS),
Absard, paternal linier and color reconstruction and geometrical base; source: Negarandegan.
Explicit Denotation Survey
The cypress motif on the wall,the internal southwest wall of Mir Motahar shrine that is under the
basement. And this relief cypress motif is in stucco form. This cypress has tulips on its top and in
the left and right side of it two tulips are covered. Consequence repetition of tulip petals could be
seen on the sidelines. Arabesque and khetai (religious patterns) could be seen in cypress motif to.
There is a pattern in the shape of flower pot under this motif. Motifs are symmetrical. For these
cypress margin round pattern cobalt-blue color is used and colors like light-blue, light-green,
copper on the whiteness of plaster is used to. (Table 3, Image 1 & 2)
Implied Denotation Survey
Cypress tree like other evergreen trees, is a symbol of Immortality, <<in means of the life after
death>> (Hall, 1380, p.293). Here tree symbolizes growth and prosperity and it could be the
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symbol of the tree of life. This tree of life is a symbol of immortality and life. Plant and twisted
forms and flower motifs among the other different motifs evokes the same tree of life.
At the top it has a flower form which has created a dual emphasis and the tree of life supports the
growth of flowers, plants, trees. Altogether and generally has become a symbol of life around
creatures that here trees and flowers are to represent them.
The pattern that is in the form of plot-flower and under of the cypress tree is the main theme of
that and tries in order to take care of flower and plant breeding. Here the tree of life located as a
symbol of pots that emphasizes on maintaining the tree of life. In this motif some parts of
massage transmission is done that its cause is a secret which is for repetition of a signifier (the
tree pattern) in other places and becoming a special meaning (symbol of life). The cypress is
famous as evergreen tree and while burning smells good and because of this, it was imagined
immortal and eternal. (Arabi, Khazai, p.50)
The cypress motif (which is known as Kaj) is very common that its earliest sign was observed on
margins of Perspolis to ceremonial this motif has a special link with. Zoroastrianism and ancient
tradition of Iran. << the cupress evergreen tree is symbol of immortality of the soul and life
cypress is also a manifestation of the positive and enlivening aspects of the spirit and enlivening
and religious life: that is why the holy places of Iran are surrounded by Cypress tree>>.
(Ghorouri, 1352, p.174)
Some researchers believed that, by considering the cypress motifs of Perspolis had ceremonial
aspects and was considered a symbol of immortality. With the advent of Islam and the Islamic
era last its position as a ceremonial tree and became a decorative and abstract and gradually in
12th and 13th C got the peak of beauty and achieved its appearance in more Iranian arts,
including; Cashmere knitting, weaving, architecture, ceremonial and religious arts like Ta’zieh
and Ashoura mark (a religious Islamic event), (Afrough, 1388, p.44). Cypress is a kind of ancient
roots which was changed to a decorative and abstract pattern after Islam by Iranian artists and
Muslims, cypress tree has its abstract meaning even in Islamic era that is amazing, cypress
pattern was mostly on the 3th C (AH) potteries. Zand and Qajar era is the third step in its
perfection process (Zhooleh, 1381).
Persian cypress is known as the symbol of Iranian endurance and pride. The fact is that Iranian
have chosen this symbol with special taste and Persian of course they have done they have done
their best choice. The cypress tree is the most beautiful and welcomed tree that does not give
fruit and is free from attachment, also it is called the symbol of freedom so it is used as a title in
Persian literature. This tree is always green and never has autumn so it shows that Iranian are
always happy and blooming. Cypress tree along its other characteristics is a good resistance in
times of drought and more important is that it could resist against storms. The hardest storm
breaks the trees but cypress bend near the ground but it backs and never breaks. This is an
important point and example for Iranian who submitted against invading of enemies but they did
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not lose their identity. On the other hand long life and its resistance against pests is important.
(vistabad.blogfa.com)
Those three tulips which are on the top of the cypress tree emphasis the immortality of martyrs.
In Persian culture tulip is the symbol of witness and this metaphor is given as a name to
sacrifices person who has become martyr in a religious and national way. (NOCR, achieved from
the original version in June 2012). The epitome of martyr is the way of friends. It is said that
when Siavash the oppressed and ancient champion of Iran was killed, tulips were grow from his
blood droplets. Tulip is a beautiful and tender flower. Its shape is like human heart which is their
life resources. The leaves of tulips is alike blood droplets though it is bloody and red itself.
(www.hawzah.com)
In Shia narrations it has been talked about the plain of Karbala which form the blood of martyrs
has been painted bloody. (Yahaghi, 1374). From the famous revolutionary songs of Iran which
martyr has been linked to tulip, we could point the song “tulip in blood, the self-giving martyr”
by Mojtaba Mirzadeh(Hamshahri newspaper, shahrivar 3th, 1384)
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Internal wall pattern of Abdolah and Khalilolah (AS) shrine, Damavand and Mir Motahar
Absard, hexagonal.
Table 4. Internal wall pattern of Abdolah and Khalilolah (AS) shrine, Damavand and Mir
Motahar Absard, hexagonal; source: Negarandegan
Holy shrine of Mir Motahar (AS): Damavand, Absard city, Imam Khomeini Blvd, Imam
Hosein St, Tohid Alley, Ghale Kohne Mahala.
symb
olic
geomet
ric
hexagon
al
Pattern
name
Pattern
name
tile
color
Pattern
kind
Girih
tile
Sign kind
circ
le
Materials
kind
compositio
n
Pattern
format
Decorating
techniques
Visual Forming Elements: spot, line, surface
TurquoiseInternal wall
blue, white,
black
Image 3. Internal wall pattern of Abdolah and Khalilolah (AS) shrine, Mir Motahar shrine (AS)
Absard, hexagonal; source: Negarandegan
Explicit Denotation Survey
Equilateral hexagonal shape characteristic is that each of its side is equal with the half diameter
of the circle that surrounds it. (Akhavan Alsafa, 1957, p.108), the hexagon color is turquoise blue
and each of the sides has been made from a black rectangle and two white triangle. (Table 4;
image 3 & 4).
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Implied Denotation Survey
The motifs that are effected by religious taught have geometrical and abstract basic. And they
refers to religious themes directly. The numbers like “6” in geometric patterns, hexagon and six
high flowers in Damavand’s shrine and its related decoration are used like tiles.
“Regular Tile” working is called to the surface which is covered all by modular arithmetic
regular polygons. Regular means that the length of every side are equal and two same arithmetic
modular polygon have equal shape and size.
In the book of Alsama & Al Alame Bahar “hexagon is one of the widest and most spacious
shapes” because from the square tight corners are left and is tall and long, like wasp nest and
circular If the sides of square gets open in order fill the gaps. The shape were made round,
outside of them reminded empty gap, because if you keep circles along together they do not stick
together, by considering this subject that circle is more spacious from all the forms. In preparing
gapless shapes, the form is hexagon. So this is the feature of this shape. (Alameh Majlesi, 1351,
Vol 8, p.172)
Image 4. Internal wall pattern of holy Shrine ofAbdolah and Khalilolah (AS), Absard, linier and
color reconstruction and geometrical base; source: Negarandegan.
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Internal wall pattern of Mir Motahar shrine (AS), Absard, Six-sided flower
Table 6. Internal wall pattern of Mir Motahar shrine (AS), Absard, Six-side flower; source:
Negarandegan.
Holy shrine of Mir Motahar (AS): Damavand, Absard city, Imam Khomeini Blvd, Imam
Hosein St, Tohid Alley, Ghale Kohne Mahala.
Pattern
name
symb
olic
geomet
ric
decorati
on
Pattern
name
Pattern
kind
tile
color
Sign kind
circ
le
Materials
kind
compositio
n
Pattern
format
Decorating
techniques
Visual Forming Elements: spot, line, surface
TurquoiseInternal wall
blue, cobalt
blue, golden
Image 5. Internal wall pattern of Mir Motahar shrine (AS), Absard, four-side flower; source:
Atieh Youzbashi
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i
Image 6. . Internal wall pattern of Mir Motahar shrine (AS), Absard, linier and color
reconstruction and geometrical base; source: Negrandegan.
Explicit Denotation Survey
This flower has been made by six-side in golden color with turquoise blue background. And they
are in a fence form of a hexagon. In this flower the rules of aesthetics, space density, balance,
proportion and symmetry is used and made the work beautiful. This ancient and original motifs
which their inner flowers were designed with a specific theme, are the basics for the designing
the Carpet, Tile, Arabesque, Illumination and so many other arts and present themselves with
new approach in contemporary presents. (Table 5; image 5 & 6)
Implied Denotation Survey
The shaping of these motifs is so accurate and harmonically, that each component is a
manifestation of its general form. In total, all components and terms are evidence of its
collection. Six-side flower is the main and important part of the Islamic motifs. This flower is the
symbol of religious subjects, symbol of God grace and delicate expression of creator. Round
motifs in fact, make human closer to God. Other shapes need lines to be formed, but circle need
just one line and it has a kind of unity and oneness. With the unit spot in the center which has
buffer line around itself. Spots is the hidden and start point of circle and mysterious make an
apart this phenomenon from the others. (www.islamicartz.com)
Flower is the symbol of beauty, purity and elegance. People know the flower as a symbol of
heaven (www.askquran.com). In fact circle is an expanded spot; spot participate in the
completing circle. Circle is the symbol of perfection, homogeneity, uniformity and not having of
additions and excrescence.
Conclusion
Semiology is trying to answer to those questions that how meanings have been made and how
reality is represented. Meaning is not going to send for us also we create that throughout a
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complicated interaction or with decoding some contracts which we are not aware of their
existence. Being aware from such these secrets are charming and make us wisely powerful.
Understanding secrets, their relations together and their construction helps us to become a person
with a specific culture (Chandler, 1387, p.222) according to the semiology point of view since
the preservation of cultural values is an important issue in the country's cultural development this
motifs must be well protected . Discovering these motifs meanings requires depth study. We
should examine visual motifs features, theological roots and symbolical meanings of motifs.
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