---

Haft-Owrang is one of the poems of the Ninth-Century poet, Abdol-Rahman Jami. An important illustrated version of Haft Owrang is called Sultan Ibrahim Mirza`s Version that is a master piece of Miniature, which has been illustrated by the artists of Mashhad school. The story of “Saint Josef's Survival from the Well” is one of the Haft-Owrang`s subjects illustrated by artists at the time. This paper is going to compare Jami's poems with the paintings of "Saint Josef`s survival from the well", attributed to Mozafar–Ali by descriptive-comparative method. It studies whether the literary style and figures of speech of Jami have affected the illustration of this painting, and measures the percentage of this influence through quantitative scales. It concludes that 22% of paintings are in line with the poems, while 78% of them are not. This shows the freedom of illustrators in their act of illustrating, their independency towards the poems, and their use of imagination, environment, and visage in creation of these works.

---

In a comparative study, this paper by using a descriptive analytical method seeks to examine the similarities and differences of the two drfferent cultuers and languages in terms of the type of the image ot the characters.
Depiction of the revolutionary and epic dimensions of image's personality,the extraordinary perspective of the two poets upon image, the link with the present time and society, the tendency towards complexity, and the avoidance of straightforwardness in the commonalities in the poetry book , and the diversity and broadness of aspects of the character, as well as combination of image of some of the characers with concepts of melancholy and grief are characteristics of the Arabic poetry book.
 

---

Painters are often inclined to illustrate different themes derived from literary texts. But when a painter illustrates a story with the theme of a painter’s artistry and artifice, this illustration certainly becomes more intriguing. Considering the common interests between the subject and the object, the major question for the painter is what particular techniques should be undertaken for illustration of this theme. This article examines the techniques in illustrations of a story with the theme of a painter’s artistry. The objects of this study are two illustrations by Mirak from the story of “Shapur-e naghash” in Nezami’s Khosrow va Shirin. The aim of this paper is to present the functions of specific illustration techniques and also to highlight the relation between these techniques and the theme of the story

---

A Study of the Textual Potentialities of Maqamat al- Hariri in its Manuscripts' Illustrations Certain Arabic classical manuscripts were accompanied by illustrations to contribute to more objectively representing them. To do so, illustrators, by taking advantage of the pictorial potentialities of literary manuscripts, attempted to depict them in a more concrete manner. As such potentialities vary, the aforementioned manner(s) would differ, accordingly. The present paper makes an analogy between the narrative elements of Maqamat al- Hariri and the technical features of the illustrations. Our main question is thus, whether Maqama , with its peculiar stylistic features, calls for a specific type of illustration, and, further, how these features could influence the type of the illustrations. In answering the question, having made the analogy, we come to two major categories in the illustrations: 1. similar drawings for different maqamas 2. Dissimilar drawings for different maqamas. The result of the research reveals a peculiar style of illustration in Maqamat al- Hariri which can be introduced as the genre's pattern of depiction. Key words: Maqamat al- Hariri, illustration, miniature, Maqama, illustrated manuscripts

---

Applying pictorial illustrations aids the lexicographer in defining lemmas and clarifying the meaning of entries. The present study, based on Stein's (1991) categories, looks at the inclusion of pictorial illustrations in three Persian monolingual dictionaries, including Amid Persian Dictionary, Moein Persian dictionary, and Sokhan Comprehensive Dictionary, intending to define a syntactic-semantic typology of pictorial illustrations in Persian monolingual dictionaries. This corpus based analytic survey is done to answer which items are mostly illustrated, considering the semantic field and the part of speech of illustrated lemmas, as well as study visual characteristics of pictures and their place of insertion. The other purpose of this paper is to investigate which methods can improve the efficiency of pictorial illustrations in dictionaries. The results of this survey indicate that domestic and contextualized pictures along with a proper reference to their headwords can enhance the communicative function of Persian monolingual dictionaries. It is also revealed that the co-reference of illustrations and headwords are fulfilled via the juxtaposition of pictures to the dictionary entries or through some verbal support that relates illustrations to the respective lemma. In all three mentioned Persian dictionaries, concrete nouns are the most illustrated headwords. This research shows that the typological analysis of pictorial illustrations in dictionaries can provide a better understanding of illustrative structures in monolingual lexicography so that planning for the visual aspects of the new generation of Persian monolingual dictionaries would be more feasible..

1. Introduction
New approaches to lexicography, which highlight the communicative function of dictionaries, believe that the dictionaries should contain encyclopedic and cultural information as well as linguistic one. The aforementioned information is presented not only through the text but also by images. Providing pictorial illustrations in monolingual dictionaries is one of the common techniques to clarify meaning in modern lexicography. The present study aims at defining a syntactic-semantic typology of pictorial illustrations in Persian monolingual dictionaries, including Amid Persian Dictionary, Moein Persian dictionary, and Sokhan Comprehensive Dictionary, by observing and studying illustrated entries in order to obtain a comprehensive understanding of the structure of illustrations in these dictionaries.
To this end, a corpus analytical survey is conducted to answer what entries are mostly illustrated, based on their semantic field and the part of speech, and how can lexicographers improve the efficiency of pictorial illustrations in dictionaries. The visual features of the entries do not appear to be the same, and illustration techniques may change due to these differences.
 
2. Literature Review
Hupka’s  (1984) study on pictorial illustrations in dictionaries and the lexicographical traditions of five major European languages (French, Italian, Spanish, English and German) is assumed to be the first systematic survey in this field.  Following Hupka’s typology of pictorial illustrations which includes nine categories, Stein (1991) suggests his own categorization based on the relation between lemma/definition and picture. Stein’s (1991: 105) systematic exploration of illustrations focuses on “how the meanings can be represented and which illustrations can stand on their own and which have to be verbally supported by a legend”.
Nesi (1989) addresses the function of pictures in learner's dictionaries. She believes that illustrations can help the learner to produce language as far as they are accompanied with notes on grammar and usage.
Gangla-Birir (2005) investigates the pictorial illustrations in African language dictionaries and argues the need to include more illustrations of culture-bound elements of a particular community or language group in dictionaries.
Klossa (2016), by taking an encyclopedic approach to lexicography, discusses the importance of transmitting cultural and encyclopedic information in dictionaries. According to her, illustration is an effective technique for applying an encyclopedic approach to lexicography, which provides the possibility to provide a culture-oriented context for the entries.
Illustrations in Persian Monolingual Dictionaries is one of the topics that has received less attention from Iranian researchers. In a contrastive study, Mansouri (2014) compares pictures in Moein Persian dictionary with illustrations in two Oxford advanced and learner’s Dictionary. Examining the use of illustrations in Persian monolingual dictionaries with a typological approach has no background and this is the first study that intends to offer a systematic categorization for pictorial illustrations in Persian monolingual dictionaries, based on the semantic field and the part of speech of illustrated headwords.
 
3. Methodology
To answer the questions raised, the researchers first study the corpus, i.e. illustrated entries in three monolingual Persian dictionaries (Amid, Moin and Sokhan), based on Stein's (1991) categories. Then, with a typological approach, all types of illustrated entries are analyzed according to their semantic fields and parts of speech, as well as the visual features of the pictures and their place of insertion. Finally, the representation of encyclopedic and cultural information through pictorial illustrations in Persian monolingual dictionaries is addressed.
 
4. Results
In this section, the results of the examining pictorial illustrations in three Persian monolingual dictionaries (Amid, Moin and Sokhan), based on Stein's (1991) categories, are presented as follows:
Amid Persian Dictionary
In this dictionary, the use of pictures is quite obvious. Pictorial illustrations, either images or drawings, are often presented in black and white. In addition to the black-and-white pictures within the text, this dictionary includes a number of colorful or black-and-white full-page images as the middle matter which are mostly presenting cultural and encyclopedic information. In Amid Persian Dictionary, both groups of illustrations (with and without verbal support) are seen, although it can be said that in most cases the illustrations can stand on their own with no verbal support as far as they are juxtaposed to the dictionary entry.
Moein Persian dictionary
In this dictionary, there is a high focus on pictorial illustrations. The pictures and their positions have been carefully selected and situated, either on the margins of the dictionary or in the immediate vicinity of a headword. Along with black-and-white pictures within the text, this dictionary presents a number of colorful or black-and-white full-page images as the middle matter which are mostly presenting cultural and encyclopedic information. In Moein Persian dictionary, both groups of illustrations (with and without verbal support) are seen. The results show that this dictionary has greatly taken advantage of second group of illustrations, so that all four types of Stein's verbal support, including legend, identifying labels, differentiating labels, and captions, can be found in this dictionary.
Sokhan Comprehensive Dictionary
Although the focus on illustrations in this dictionary is less than the previous two, but a significant feature in illustration method in Sokhan Comprehensive Dictionary needs to be highlighted: all images are uniformly and clearly drawn so that they can play a complementary role for definitions very well. The drawings in this dictionary are all presented in black and white and there is no evidence of full page pictures as the middle matter. Moreover, The examination of pictures depicts that except for few cases, illustration in this dictionary is of the first group (without verbal support). In fact, since almost all illustrations are situated in the immediate vicinity of the headword, verbal explanations are rarely used. In other words, the position of pictures helps them to refer to their headword to the extent that there is no need to provide a verbal support for the pictures.
 
5. Discussion
Examination of pictorial illustrations in the corpus of study shows that in all three mentioned Persian dictionaries, concrete nouns are the most illustrated headwords, among which the most pictures fall in the semantic fields of plants and animals. In addition, the analysis of illustrated entries in the present study confirmed the hypothesis that the visual features of the headwords do not appear to be the same, and illustration techniques may change due to these differences.
Furthermore, to enable to fulfill their communicative function, it is important that contextualization of pictures, their position in the dictionary along with a proper reference to their headwords are carefully devised. That is, if the illustrations are not appropriately linked to their headwords, they won’t have any semantic function and might solely be considered as entertaining and aesthetic aspect of lexicography.
6. Conclusion
The present study, based on Stein's (1991) categories, looks at the inclusion of pictorial illustrations in three Persian monolingual dictionaries, including Amid Persian Dictionary, Moein Persian dictionary, and Sokhan Comprehensive Dictionary, intending to define a syntactic-semantic typology of pictorial illustrations in Persian monolingual dictionaries. The results of this survey indicate that domestic and contextualized pictures along with a proper reference to their headwords can enhance the communicative function of Persian monolingual dictionaries. It is also revealed that the co-reference of illustrations and headwords are fulfilled via the juxtaposition of pictures to the dictionary entries or through some verbal support that relates illustrations to the respective lemma. This research shows that the typological analysis of pictorial illustrations in dictionaries can provide a better understanding of illustrative structures in monolingual lexicography so that planning for the visual aspects of the new generation of Persian monolingual dictionaries would be more feasible.