Document Type : Original Article
Authors
1 MA in Art Research, Art and Architecture Faculty, Payam Noor University, Tehran, Iran
2 Ph.D. in Art Research; Associated Professor;payam noor University;Tehran;Iran
Abstract
Hannibal AlKhas was born in Kermanshah on 1930 June 14, to an Assyrian family. He was one of the founders of figurative design in modern Iranian painting and also one of the most influential contemporary Iranian lecturers and painters who has taught several successive generations of art students. He is one of the modernist figurative and hard-working Iranian painters who is well-known for his artworks multiplicity, style, and impact on the history of the art of painting in Iran. He always adhered to the style of storytelling in Iranian paintings. He always had an attitude towards the past arts and he believed that the roots of a human being must be found in tradition and in the past Making use of a combined style in creating modern paintings, he was always inspired by the past and thus the effect of the previous literatures in making his artworks cannot be ignored. Most elements in his paintings which were adapted from the past works are assembled with a unique combination narrating his thoughts. These repetitive historical elements and adaptations that shine in some artworks of this precious painter unconsciously import his paintings in intertextuality and make them important. This approach was based on Julia Kristova's which was published in an article entitled "Word, Dialogue, Novel" in 1966. This perspective was then developed by many researchers and theorists. From a specific point of view Gerard Genette continued to discuss the intertextuality of the new master plan but in general he studied the relationship between a text and non-texts. He brought these textual relations in five types of relationships and described the sum of these transnational relations. This research, which has been collected using library in a descriptive - analytical manner within the framework of intertextuality and hypotextualite of Ge`rard Genette investigates the hypotexts that have been utilized and modified in style and content by Alkhas in his artworks. The purpose of this study is to investigate the influential pre-texts on the paintings and the changes applied to them. The main questions of this research are: Where did the influential pre-texts of Hannibal alKhas's works originate? How has AlKhas influenced past texts to create new and creative works? The importance of this research can also be attributed to alKhas' special place in the development of contemporary Iranian modern art and the necessity of examining his works from lesser aspects and angles and secondly the use of relatively new tools in critical thinling and artistic aspirations and artists like intertextuality. The statistical population of this study includes analysis of four works of Hannibal alKhasas (1930-2011) from the beginners of figurative design in modernist Iranian painting with pre-texts which he used in the creation of his works. Our results show that borrowing elements in artworks of other artists and myths and modifying them in terms of style and content to create new concepts from old ones were valuable steps toward transferring thoughts and innovative stories.
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