Abstract
Among the most eye-catching features observable on the cultural materials of 12th-14th centuries, are painted or drawn scenes which narrate a specific story and can be classified as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s Shahname to the mind. Most researchers consider these motifs exactly in the same vein i.e.  as part of “Shahname-related motifs”. But this author is doubtful on asttributing these motifs to Firdowsi’s grand masterpiece. The main question here is to understand that how and in which regard this motif can be related to Firdowsi’s story of Faridun. To reach to an answer two kinds of evidence have been studied: pictorial narratives; and written narrative which describe the story of Faridun. For this reason, in the first step, all the depictions related to this story from the 12th through the 14th centuries, have been described. The repeated and distinctive motifs in these depictions have been discussed under the thematic subject termed the “Mace-wielding bull-rider”. In the second step, this thematic subject has been compared with written narratives from Firdowsi’s Shahname and the other historical sources. considering the fact that the main data used here are depictions that lack any written descriptions, the earliest illustrated manuscripts of Shahname were also studied so that we can reach a more comprehensive conclusion. In the last section, the author, by collating the pictorial and written documents, refutes the theory that takes the Shahname as the origin of the depictions of Faridun’s victory over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story. 
Keywords: Narrative, Firdowsi’s Shahname, Faridun, Zahhak, Bull-rider, 12th-14th centuries.

Introduction
Research on cultural materials from 12-17th centuries show that in this period use of visual language reached an unprecedented apex. Among the most important subjects depicted in this period, scenes of War and Festivities, scenes different personalities on throne, Astronomical scenes and Narratives scenes can be mentioned. The last, i. e. Narrative images, is one of the most challenging part of this body of Iranian visual culture. These scenes have been depicted on potteries, tiles, vessels, metal objects, textiles and murals. Many researchers consider these scenes to be mainly derived from the great book of kings written by Firdowsi. Stories such as Bahram-e gur and Azade, Bizhan and Manizhe, and Faridun and Zahhak are among the most famous “Shahname-related figures.” Considering the fact that the first illustrated manuscripts of Shahname belong to 8th century A. H./ 14th century A. D., The importance of depictions on other material culture, which have been created 300 years before the first illustrated manuscripts, becomes clear. In another word, the tradition of illustrating scenes from the book of kings’ Stories began 300 earlier. whether there was any illustrated Shahname before the 14th century is a matter of debate, but many researchers who work on the earliest manuscripts of Shahname use the material culture created before the 13th century as a reliable point of reference in their study. In their opinion the “Depicted Shahname-related Scenes” are vital links which connect the time of creation of the firdowsi’s book to its first extant written manuscripts. All of these opinions are based on the assumption that the book by firdowsi is the main source of scenes painted on these material culture. This author is doubtful on this matter. It seems that many of these “Shahname-related figures” were not studies so that their relationship to the actual text of Shahname become transparent.  Besides, till now none of these motifs have been studies individually. Here the “Mace-wielding bull-rider” visual pattern is chosen to clarify the relationship between the Shahname-related figures and the actual text of Firdowsi’s Shahname.

Materials and Methods
Typical objects with scenes of Fariduns’s victory over Zahhak are Mina’I bowls on which the inner parts are completely covered by painting. Other specimens are luster bowl and tiles and some metal vessels. In most specimens, scenes are depicted from left to right.
Three characters can be recognized in these scenes; each one has specific attributes which are numerated below (Tab. 1)
Here considering the central position of the mace-wielding bull-rider and its larger stature, he is the most important character in the scene. In all depiction of this specific scene in this period, the large body of the bull has been intentionally emphasized so that the focus of observer’s attention will be directed toward this part of the scene.
Among the characters’ attributes, the snake on the shoulders of one of the characters clearly identify him as Zahhak and the bounded hands and naked upper body refer to his defeat. Thus, the central person is none but Faridun who, in epic narrative, is closely related to bulls and wields a bull-shaped mace. The person who raises the flag is probably no one but Kaveh, the Iron-smith who began the rebellion against Zahhak. Therefore, this becomes clear that the creator of this scene has used some figurative signs to show the main attributes through which these characters can be identified. This scene clearly shows the victory of Faridun over Zahhak.

Discussion
When comparing the “mace-wielding bull-rider” visual pattern with Firdowsi version of the story, this should be mentioned that although the story of Fardiun is one of the longest and most important throughout Shahname, taking Zahhak to Damavand is described very briefly, in only two couplets (Firdowsi 1987: 84). In contrast, the mace-wielding bull-rider pattern, depicts exactly this neglected scene. Beside this, in the first look, there are two major narrative differences between this visual pattern and Firdowsi’s story: first, according to Firdowsi, Kaveh was not present when Faridun took Zahhak to Damavand. Second, in Firdowi, Faridun put Zahhak on a ride and then take him to Damavand, but on the Visual pattern, he is on foot.
An important Iconographic point here is depicting Faridun as a bull-rider. This attribute is emphasized to such an extent that this motif can be calld “mace-wielding bull-rider”. some secondary attributes (For example mace of Fardiun or nakedness of Zahhak) or characters (Zahhak or Kaveh) are absent in some specimen, but this never occurs in the case of Faridun and the bull. Here it should be reminded that in Shahname, Faridun never rides a bull. In Shahname, especially in story of his rebellion against Zahhak, he specifically rides horses. It seems that the use of bull as constant motif on this visual pattern is intentional and not an accident or mistake. Here it is vital to resort to other sources beside Shahname. In Tarikh-e Tabarestan and Zin al-akhbar (both written in the 5th century A. H.) Faridun rides a bull (Ibn-e Isfandiyar 1941: 57-8; Gardizi 1984: 524). In Nouruzname, Faridun is a personality who never use horses (Khayyam1951: 51). The same conclusion can be drawn from Aburayhan Biruni (4th century A. H.) and Ibn-e Balkhi (Biruni 1998: 346; Ibn-e Balkhi 1984: 12). Therefore, this visual pattern is closer to the texts which were written before Firdwosi.

Conclusion
One of the most important and extensive visual patterns on the material culture form the 6th to 8th centuries/ 11 to 13th century, is depiction of captured Zahhak who is being taken by Faridun to mount Damavand. Here this visual pattern is defined as “mace-wielding bull-rider” scene. Three persons (Faridun, Kaveh and Zahhak) are depicted in this scene and every one of them has his own iconographical attribute. The main question of this study was to understand the extent that these attributes were related to Firdowsi’s Shahname. Intimate study of these attribute and verses in Shahname, showed that some of the main motifs especially Faridun’s bull-riding is not mentioned in Shahname but is described in other, earlier, sources. Therefore, this visual pattern is not related to Shahname, and in fact, it is an independent interpretation of story of Faridun by artists from this period who were influenced by wide variety of Sources, both oral and written.
 

Abstract
Iranian art has consistently been shaped by various external influences throughout its history. However, a crucial aspect of these influences is the enduring preservation of character and structure-specifically, the narrative pattern inherent in Iranian art. Historically, Iranian artists have assimilated structural, technical, thematic, and content-related experiences from other cultures while maintaining their unique Iranian identity. This research aims to conduct a comparative study of the narrative pattern, a concept derived from structuralist narratology, in two significant historical periods of Iranian visual art: the reign of Shah Abbas I in Isfahan and the subsequent Pahlavi era. The significance of this study stems from the fact that Iranian painting during these two periods experienced substantial influences from European art, which in turn impacted subsequent artistic movements. Thus, we seek to address the fundamental question: What changes and transformations occurred in the narrative pattern of the Isfahan school of painting compared to that of the second Pahlavi period? Preliminary observations suggest that the modernism evident in the Isfahan school shares greater affinities with the pictorial traditions of Iran’s past, whereas the painting of the second Pahlavi period is characterized by confusion and distress. Employing a descriptive-analytical methodology alongside a comparative approach, this research utilizes documentary and library sources to develop a narrative model for the periods in question. The findings indicate that the narrative pattern in the works of modernist painters from the Isfahan school, when compared to their counterparts in the second Pahlavi period, exhibits a novel style and structure that aligns more harmoniously with the continuity of Iran’s pictorial traditions. 
Keywords: Structuralism, Narrative Pattern, Narratology, Isfahan School, Second Pahlavi Period.

Introduction
When examining the identity of Iranian art, one encounters a cohesive whole, despite the numerous changes and developments it has undergone throughout history. The ability to preserve originality while embracing desired changes is a hallmark of the resilience of Iranian culture and art since ancient times. Notably, the tumultuous era of the Mongols paradoxically gave rise to one of the most illustrious periods in Iran’s cultural and artistic history, namely the Timurid and Safavid eras. The incorporation of Chinese and Byzantine painting traditions ultimately led Iranian painting to evolve with distinct coordinates that diverged from its sources in both structure and narrative pattern. During the Safavid period, particularly within the Isfahan school, and continuing into the second Pahlavi era, the influence of European art reached its zenith. This exchange facilitated the transmission of Western culture and customs to the East, resulting in both intentional and unintentional effects. It was within this context that Iranian painting experienced significant European influences (Pakbaz, 2007: 132).
In the early 1920s, a shift in Iran’s political landscape prompted corresponding changes in the cultural atmosphere. The translation and publication of works aimed at familiarizing the Iranian intellectual community with modern European literature and philosophy became a focal point in the search for new avenues of expression. In this regard, the “Art Academy of Fine Arts,” established based on the educational standards of Paris, was inaugurated in 1941.
Artworks can be interpreted through the lens of their source text (Europe) while remaining cognizant of their destination text (Iran). These developments have led, on one hand, to a rupture with traditional narrative patterns and, on the other, to the introduction of new narrative modalities in the history of contemporary Iranian painting. The objective of this research is to investigate the evolution of narrative patterns in the painting of these two pivotal periods. By examining these developments, we can identify the underlying reasons and factors that influenced the creation and transformation of artistic conditions. Drawing on practical analyses of complex situations that have occurred in other times, strategies and plans can be formulated. Historically, Iranian art has prided itself on the influence of foreign artistic traditions. Thus, we seek to address the question: What were the changes and transformations in the narrative pattern of the Isfahan school and the second Pahlavi period? Undoubtedly, these changes encompass both positive and negative aspects, and this research aims to provide a clear depiction of their nature. On one hand, these influences have propelled Iranian painting toward development and evolution; on the other, they have led to the rejection and dissolution of certain pictorial traditions from Iran’s past.

Materials and Methods
This research is descriptive and analytical, employing a comparative approach to address the research problem. Data and works have been qualitatively analyzed based on the narrative model in structuralist narratology, particularly drawing from the theories of Vladimir Propp, a pioneering theorist in this field. Propp’s approach seeks to identify common and recurring elements across different texts to uncover deep structures. Consequently, due to the intertextual borrowing in Iranian painting from literary texts, four common elements topic, theme, motif, and tone have been selected as criteria for analyzing changes. Following the collection of data from specialized books, articles, and electronic databases, the data has been sorted and analyzed until saturation was achieved. From each period, four works that align with the theoretical framework have been selected for analysis.

Discussion and Analysis 
The findings of this research can be articulated both generally and in detail. In the comparative study of the narrative patterns in the paintings of the Isfahan school and the second Pahlavi period, there are notable similarities in terms of modernity. In both periods, artists sought to achieve a new and distinct tone, creating works that diverged from past traditions. This aspect of modernism was significantly influenced by European painting traditions prevalent during these historical periods. Another point of similarity between the two eras is the support and promotion of modernism by both the government and patrons within the context of Iranian painting. Additionally, the human figure emerges as a common and recurring theme in both periods. To gain a clearer understanding of the changes and transformations in the narrative patterns during these two periods, we can elaborate on these changes as follows: From the perspective of subject matter, the narrative patterns in the Isfahan school (as seen in the works of Reza Abbasi, Moin, and Aliquli Jabbadar) and in the second Pahlavi period (represented by Ziapour, Javadipur, and Esfandiyari) are grounded in common local themes and realistic, documented human figures. The narrative patterns in the Isfahan school, particularly in the works of Mohammad Zaman (depictions from the Shahnameh and others), reflect a return to the literary and pictorial traditions of Iran’s past, as illustrated in the works of Hossein Kazemi (depicting minors of the Safavid period).
The themes employed in the narrative models of Isfahan school painters are diverse, encompassing various themes such as lyrical and poetic elements, documentary aspects, and a blend of Iranian and Western influences. In contrast, painters of the second Pahlavi period opted for a more uniform approach, drawing primarily from local and modern Iranian themes in their works. Regarding motifs, the works of Isfahan school painters predominantly utilize defined lines and a limited color palette. Conversely, the motifs in the works of second Pahlavi period painters often feature abstract forms and innovative techniques. In terms of narrative tone, the works of Isfahan school painters, particularly those of Reza Abbasi and Moin Moser, are characterized by a calm and distinctly Iranian structure and style. In contrast, the works of Mohammad Zaman and Aliquli Jabbadar tend toward European naturalism. During the second Pahlavi period, the narrative tone in the works of Ziapour, Javadipur, and Esfandiyari is heavily influenced by European painting styles, including Cubism and Expressionism.

Conclusion
In summary, the narrative pattern in the Isfahan school of painting, influenced by European artistic traditions, shows greater alignment with Iran’s past visual traditions. Conversely, the narrative pattern in the painting of the second Pahlavi period is associated with confusion and distress regarding Iranian structure and identity.

Abstract
Reading ancient artifacts is the first step after the act of excavation. Therefore, dealing with ancient objects as a fundamental pillar of archaeological science, especially paying attention to methodological issues for the analysis of historical artifacts, is essential. In other words, the need to use new methodological capacities, with emphasis on the relationship between visual media and ancient artifacts as valuable sources of information, forms the focus of this discussion. In this regard, in the last three decades, visual narratology has also been considered as a newly emerging method in the history of contemporary art, along with other interdisciplinary fields, for analyzing the meanings of visual texts and for a deeper understanding of discovered ancient documents. Visual narratology emerged from the First Vienna School. Its theoretical foundations for the creation of art history, regardless of aesthetic judgment, also developed an analytical method by which All Kind of cultural creations can be read. The main goal of the present study is also to identify the Different methods through which the creators of these works have created narratives and transmitted meanings, through the three indicators of character, scene and movement. Therefore, using Franz Wickhoff`s typological system of visual narrative in the Vienna School, the basic types of narrative were examined on 6 study samples of the ancient Jiroft civilization. As a result, after examining the frequency or maximum of the most frequent types among the visual samples of the Jiroft civilization, it was shown that the visual narrative patterns in this ancient civilization still follow the scope of Wickhoff typological system. Finally, with the help of typological analyses, the studied samples are formatted into a table according to Wickhoff`s Isolated, continuous and Complementary.
Keywords:  Visual Narratology, Archaeological Artifact, Jiroft Civilization, Wickhoff’s Typological System of Narrative.

Introduction
Narratology is one of the most important methods of textual analysis, first applied in the study of verbal-linguistic media. From the perspective of linguistic narratologists, a narrative is defined as a story that follows a chronological order and consists of a sequence of interconnected events with a beginning, middle, and end.
The groundwork for the encounter between narratology and archaeology in the present era was laid with the help of Propp’s studies-recognized as the first modern narratological approaches-on Russian folktales, emphasizing recurring motifs within the literary genre. In other words, his formalist-structuralist method, by identifying repetitive and transformative patterns in narrative elements, was primarily developed in storytelling traditions and subsequently introduced archaeologists and anthropologists to this field. Moreover, in 1980, linguistic narratologists, recognizing the significance of non-verbal media, prioritized the study of visual texts as a rich source of knowledge. Consequently, although the historical background of visual narrative studies traces back to art history, archaeology, and the examination of various forms of narrative art in ancient Greece and Rome... (Horvath, 2010)
However, following the fields of archaeology and art history, narratologists began studying visual narratives. This marked the first time in the history of linguistic narratology that, beyond literature and cinema, narrative theory extended into the realm of visual arts, including sculpture, figurative representation, relief carvings, inscriptions, and more. Consequently, since the 1980s, visual narrative studies have become a common ground for various disciplines, particularly art history, narratology, archaeology, anthropology, epistemology, semiotics, and others.
The undeniable potential of visual narrative, alongside linguistic media and the communicative/cognitive nature of visual documents, led research in this field toward interdisciplinary approaches. Overall, it can be stated that contemporary studies on visual narratives widely agree that visual elements are essential for establishing a form of visual communication and constructing the meaning of an artwork. This consensus has contributed to the emergence of a new interdisciplinary branch known as visual narratology over the past two decades.
In this regard, archaeologists such as Landau (1991) and Terrell (1990) explored narratives related to human evolution and prehistoric stories from the Pacific region. As a result, they primarily examined the perspectives of key narrative roles in the form of protagonists who undergo arduous trials, overcome significant obstacles, or return to their homeland (Pluciennik, 1999: 654).

Discussion
In this research, an attempt is made to introduce a new approach to the study of visual narratives by drawing on recent methodological frameworks in the field of visual culture studies across different civilizations-with a particular focus on reading narratives or stories within images. In addition to presenting an innovative method for analyzing visual narratives, this study aims to establish more objective and precise criteria for interpreting visual texts and ultimately uncovering their themes, messages, or implicit meanings. This is achieved through the examination of three key narrative components: the actor (agent), the representational space, and all directional or movement-evoking elements within the image.
From this perspective, the proposed method significantly differs from other image and symbol analysis approaches, particularly iconography and semiotics. Overall, these components distinguish the present research methodologically from previous studies on the cultural heritage of Jiroft, which have primarily relied on semiotic and iconographic analyses of motifs-rather than exploring the narrativity of images. This distinction is considered one of the study’s key innovations.

Conclusion
Overall, the focus of this study was on the fundamental doctrine of the Vienna School, with a particular emphasis on Franz Wickhoff. In this regard, pictorial narration is inherently meaningful, generates cultural cognition, and is considered within a historical context. In other words, in line with Wickhoff’s teachings, an effort was made to examine seemingly indistinct events and ambiguous prehistoric incidents within overarching and universal metanarratives, which often reflect grand social transformations in various forms.
The case studies of this research (see: Table 1) exhibit characteristics that demonstrate how the examination of the typological diversity of pictorial narration goes beyond textual analysis and delves into deeper subtextual and interpretative layers. Thus, every representational narrative is situated within a macro-narrative framework, which may encompass an archaeological site, a cultural civilization, or an evolutionary process transitioning from one historical era to another. In other words, the semantic appeal among the narrative samples of this research results from the interplay of the powerful poles of myth, nature, and culture. Therefore, the narrative logic of these artworks emerges through a permutation-based relationship and continuous movement between the cycle of natural life, the mythological realm, and cultural existence, centered around the main character or actors of the scene.
In this ongoing struggle between the worlds of myth, nature, and culture, the dominant force within the scene is sometimes influenced by the mythological pole, manifesting in the figure of a king-hero (Figs. 4 & 6) such as Gilgamesh and Enkidu, who reflect the grand ideals of their culture and society. At other times, with nature prevailing over mythology, domesticated animals in the grasslands (Fig. s 5 and 7) are depicted as integral to their local ecosystem. In this way, pictorial narratives serve as tangible representations of the collective unconscious of these ancient civilizations, embodying their aspirations, desires, beliefs, and cultural and mythological needs through the artifacts and objects of their time. In this sense, beyond their decorative and aesthetic aspects, narrative motifs also reflect the worldview of their creators regarding ways of living, the geographical environment, and the prevalent cultural values and mythological concepts of that era.
As Plato described in Timaeus, referring to nature as “the womb of all change”, the encounter between humans and nature in Jiroft civilization represents an ongoing process of transformation resulting from the clash of opposing forces in nature and the stabilizing power of human reason. Accordingly, the case studies of this research illustrate how historical human interactions with nature are reflected in the uninterrupted transition of pictorial actors through the three essential stages of existence—imitation and assimilation (myth), contact and interaction (nature/ecosystem), and desire and confrontation (culture) through various cultural-narrative patterns of the time.
Thus, in their evolutionary and transformative journey (human-bull, human-lion, or human-scorpion), humans inevitably find themselves in a continuous struggle with the unknown and unstable forces of nature. Consistent with Frazer (1926), the urgent biological and existential necessity of direct contact with nature compelled ancient people to perceive themselves as defenseless against the uncontrollable forces of the natural world. In such a situation, they had to rely on collective intelligence to devise solutions for coping with the fragmented natural world and its creatures. On one hand, in response to existential questions and in facing the unknown forces of nature, as well as to alleviate their inner anxieties, they entered the mythological phase, passively and fearfully absorbing these uncontrollable forces into their collective unconscious. However, in the natural phase, in order to meet their biological and vital needs, they gradually became familiar with the enigmatic surrounding nature through constant contact, discovering its hidden forces. Finally, in the cultural phase-marked by the formation of urban societies and local states-they externalized the absorbed mythological forces and applied their accumulated experiential and cognitive knowledge of the surrounding nature to heroic actions aimed at establishing and defending their civilization and territorial boundaries against external threats. In other words, the passive and imitative human within the mythological realm transforms into a coexisting inhabitant of the natural order and ultimately into people with symbolic cultural identities, engaging in heroic acts. This heroic movement in ancient cultural and civilizational life frequently manifests in the figure of a king-hero.
Consequently, emphasizing the maximal narrative quality in images, six pictorial types were purposefully selected from 144 pictorial samples of the Jiroft civilization. Upon analyzing the sample volume, it was demonstrated that Wickhoff’s three fundamental narrative patterns comprehensively encompass the various pictorial narratives (related to Jiroft civilization’s chlorite stone artifacts) under three general categories: “human narratives”, “grassland narratives” and “confrontational animal narratives”. In this way, the endless cycle of substitutions and transformations in the biological, mythological, and cultural systems of humans was structured under Wickhoff’s visual narratology framework in the form of three models: continuous, isolated, and Complementary  narratives.
The isolated models in Figs. 8 & 9 revealed that by suspending movement, avoiding sequential framing, and focusing on the climax of the story in a single scene, they effectively captured the timeless and placeless mythological world in a tangible manner. In the continuous models, it was observed how, through the repetition of the hero figure within the scene (Fig. 5), the sequence of events could be followed until the hero’s fate was determined. The artist successfully arranged minor actions around the main actors (Figs. 6 & 7) to vividly depict the continuity of natural life in Jiroft civilization. Finally, by segmenting events into successive frames (Fig. 4), it was shown how an artist could convey the essence of a story in a cinematic manner.