Original Article
zahra shoghi; mehdi keshavarz afshar
Abstract
One of the currents in the art of carpet weaving in Iran is pictorial carpets, which have established a close connection with Persian literature since the Qajar dynasty. One of the most important stories of Persian literature that has had a significant impact on the formation of images of these carpets ...
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One of the currents in the art of carpet weaving in Iran is pictorial carpets, which have established a close connection with Persian literature since the Qajar dynasty. One of the most important stories of Persian literature that has had a significant impact on the formation of images of these carpets is the story of Leyli and Majnoon Nizami Ganjavi. Iranian artists to create images of Leyli and Majnoon story in these carpets have combined the inspiration of this story with their creativity. Therefore, carpets have been created that are the same but have different reflections. the aim of this paper is to compare the changes and developments of these carpets with each other as well as with the Nizami`s narrative to study their variations in five components 1. staging; 2. the symbolic motifs; 3. calligraphy and writing; 4. the way of representation of faces; 5. the way of representation of clothes; in the time interval of Qajar until examples of contemporary period. The questions of this research are: 1. Which scenes from the story of Leyli and Majnoon are represented in the pictorial carpets during these periods? 2. In which period, did each of these scenes repeat the most? 3. What are the differences and similarities of the images in face painting, clothes, symbols and lines and writings? The research method in this paper is descriptive-analytical and historical with a longitudinal comparative approach. information gathering has been done through libraries and internet.from the Qajar period, pictorial carpets are a widespread movement and are widely produced, Therefore, due to the small number of these rugs before the Qajar period, the study of this research has been placed from the beginning of the Qajar period until today To analysis the changes. The selection of Qajar and Pahlavi period carpets is based on available samples. However, in the selection of contemporary carpets, due to their abundance, a number have been randomly selected. And a total of 23 carpets were selected.Findings show, Among the scenes of Leili and Majnoon's story, four scenes are woven in carpets: 1. meet Leyli and Majnoon, 2. Leyli camel, 3. Complain majnoon with the thought of Leyli, 4. Meet different people with the majnoon. The scene of "meet Leyli and Majnoon" has the largest number of carpets and has been woven in all three periods. Matching the images of these scenes showed significant differences in the above five components over time. the difference in the representation of a single storyline in the pictorial carpets is influenced by the social, cultural and religious conditions of the weaver, the customer, the designer or in a broader view is a society in which these pictorial carpets have been created.
Original Article
محمدرضا رفیع زاده مژدهی; Maryam Kahvand
Abstract
The role of the human figure as a major visual element had a brilliant presence in various artworks of Persian art a long time. The structure and form of presenting human motifs although has experienced a variety of changes in over time, it has always maintained a fixed aesthetic attitude based on the ...
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The role of the human figure as a major visual element had a brilliant presence in various artworks of Persian art a long time. The structure and form of presenting human motifs although has experienced a variety of changes in over time, it has always maintained a fixed aesthetic attitude based on the idealistic representation of the human form. This particular kind of aesthetic insight that was the point of contact and sharing of all the masterpieces of Persian painting throughout Iranian painting history from the early 11th century AH through new social and cultural conditions, and extensive communication with the Western nations is gradually decreased and European naturalism influenced in Persian painting. The process of naturalism in the art of the Qajar period followed with increasing intensity, on the other hand In the first half of the Qajar period, the art of figure painting, which had flourished and expanded as an independent way of expression after the decline Production of manuscripts and the prevalence of portrait painting, became particularly popular has been expanded and used as a powerful tool for propaganda and royal power. But this trend has evolved with the increasing influence of Western art and the arrival of new media technologies, in particular the photography and lithography, in the Qajar second half, and gradually the importance and prosperity of Persian painting and figurative painting is reduced. In the midst of these changes, the leading and notable artist named Abolhassan Ghaffari, who is called Sani-Ol-Molk, emerges. In his artworks, a new insight into the art of figure painting, influenced by Western art style and Photography technology is observed. In the present research which has a qualitative essence and analytical approach and is practical in target attempted to study the impact of photography on Persian painting in the Qajar era, with particular emphasis on the artworks of an artist. Therefore, the present research is a case study and its samples have been selected purposefully and qualitatively. Accordingly, by studying on samples of Sani-Ol-Molk's artworks, the features of the artist's figure painting, how using the photography media has been analyzed. The results of these studies confirm the artist's use of the photograph in his work, and at the same time show that he has followed his own artistic style in the works influenced by the photography as well as in his other works. In his figure paintings combine the realistic and photographic look - mostly in the face - and a personal point of view and illustrative look, mainly in clothing and figure. However, even in the his portrait paintings affected by the photography, can also be seen as signs of a personal and illustrated techniques, so far as the persistence of the artist on the application of this kind of special look In some cases, the quality of simulation and facial realism has been negatively impacted.
Original Article
Mehdi Sahragard
Abstract
قلم نستعلیق تفاوتهای صوری بسیاری با قلم ثلث، پرکاربردترین قلم در کتیبهنگاری دورة اسلامی ایران، دارد و از آنجا که خصوصیاتش با نیازهای کتیبة ابنیه هماهنگ نبود کاربردش ...
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قلم نستعلیق تفاوتهای صوری بسیاری با قلم ثلث، پرکاربردترین قلم در کتیبهنگاری دورة اسلامی ایران، دارد و از آنجا که خصوصیاتش با نیازهای کتیبة ابنیه هماهنگ نبود کاربردش در کتیبهنگاری با تاخیر همراه شد. هرچند کتیبههایی به قلم نستعلیق از سدة نهم به جا مانده، کاربرد گستردة این قلم در کتیبهنگاری ابنیه از سدة یازدهم هجری آغاز شد و پس از طی مراحلی از تکامل و تحول در سدة سیزدهم هم از نظر میزان استفاده و هم ویژگیهای هنری به اوج رسید. در هر یک از این مراحل کاتبان و معماران برای هماهنگ کردن این قلم با بنا با مسالهای ویژه روبرو شدند. عصر قاجار عصر رویارویی کاتبان با مساله ترکیببندی است که نتیجة آن ابداع شیوههایی برای سامان دادن کلمات در قاب محدود کتیبههای ترنجی و طوماری بود که بر مبنای شکل مشترک حروف، عمدتاً بر پایة دوایر و کشیدهها، صورت بست. حرم امام رضا (ع) به منزلة یک مجموعة معماری باسابقه که جریان مستمری از کتیبهنگاری نستعلیق در آن برقرار بود مجموعة مناسبی جهت بازشناسی تحولات این قلم است. از این رو در این نوشتار ضمن مرور ویژگیهای اساسی قلم نستعلیق و معایب آن در کتیبهنگاری، ابداعات کاتبان عصر قاجار به استناد کتیبههای حرم امام رضا (ع) مرور و چند اثر از دو کاتب برجستة اوایل سدة چهاردهم، محمدحسین کیمیا قلم و محمد موسوی، به منزلة شواهدی از این ابداعات بررسی میشود. قلم نستعلیق تفاوتهای صوری بسیاری با قلم ثلث، پرکاربردترین قلم در کتیبهنگاری دورة اسلامی ایران، دارد و از آنجا که خصوصیاتش با نیازهای کتیبة ابنیه هماهنگ نبود کاربردش در کتیبهنگاری با تاخیر همراه شد. هرچند کتیبههایی به قلم نستعلیق از سدة نهم به جا مانده، کاربرد گستردة این قلم در کتیبهنگاری ابنیه از سدة یازدهم هجری آغاز شد و پس از طی مراحلی از تکامل و تحول در سدة سیزدهم هم از نظر میزان استفاده و هم ویژگیهای هنری به اوج رسید. در هر یک از این مراحل کاتبان و معماران برای هماهنگ کردن این قلم با بنا با مسالهای ویژه روبرو شدند. عصر قاجار عصر رویارویی کاتبان با مساله ترکیببندی است که نتیجة آن ابداع شیوههایی برای سامان دادن کلمات در قاب محدود کتیبههای ترنجی و طوماری بود که بر مبنای شکل مشترک حروف، عمدتاً بر پایة دوایر و کشیدهها، صورت بست. حرم امام رضا (ع) به منزلة یک مجموعة معماری باسابقه که جریان مستمری از کتیبهنگاری نستعلیق در آن برقرار بود مجموعة مناسبی جهت بازشناسی تحولات این قلم است. از این رو در این نوشتار ضمن مرور ویژگیهای اساسی قلم نستعلیق و معایب آن در کتیبهنگاری، ابداعات کاتبان عصر قاجار به استناد کتیبههای حرم امام رضا (ع) مرور و چند اثر از دو کاتب برجستة اوایل سدة چهاردهم، محمدحسین کیمیا قلم و محمد موسوی، به منزلة شواهدی از این ابداعات بررسی میشود. واژگان کلیدی
Original Article
Ali Asadpour
Abstract
Diverse collection of Sohrab Sepehri's drawings and paintings has left a legacy that is well worth the study. However, his drawings have received less attention from art critics. These works are an important source in the reading of the landscape and the vernacular architecture of his time and show his ...
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Diverse collection of Sohrab Sepehri's drawings and paintings has left a legacy that is well worth the study. However, his drawings have received less attention from art critics. These works are an important source in the reading of the landscape and the vernacular architecture of his time and show his lived experience and deep understanding of the environment. Since an important part of our natural heritage and architecture is in danger of extinction due to the rapid growth of urbanization, drought and climate crises, Sepehri's works could be considered part of the documents of indigenous heritage. The aim of this study is to analyze the landscape and vernacular architecture in his drawings, to identify the structure of their composition and to analyze the spatial-local concepts in them. The method of this research is qualitative and based on description and analysis. In this study, a series of drawings by Sohrab Sepehri were selected in the last years of his life. These drawings include 145 pieces made from various landscapes during 1976-79. The reading of each work includes identifying the elements and components, the details, and the display qualities of each element. The results show that the components of landscape and vernacular architecture in Sohrab's lived experience include "mountain", "tree" and "architecture. The analysis of these elements indicates that the dominant structure in the natural landscape representation in these designs included the composition of mountains and hills in the right diameter. The vernacular landscape represented in these works is a kind of "complex landscape". "Village" and "house" are two types of architectures represented .Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Keywords: Sohrab Sepehri, Design, Nature, Vernacular Architecture, Composition
Original Article
Sadreddin Taheri
Abstract
Frida Kahlo, leading Mexican artist, inspired by the folk culture of her hometown, created a personal, indigenous and naive style to portray her concerns about identity, gender, class, race and post-colonial status. Her works depict the story of her life, as well as narrating the lifestyle of women of ...
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Frida Kahlo, leading Mexican artist, inspired by the folk culture of her hometown, created a personal, indigenous and naive style to portray her concerns about identity, gender, class, race and post-colonial status. Her works depict the story of her life, as well as narrating the lifestyle of women of her era. Frida’s works are deep, multi-layered, symbolic and rich in hidden meanings. Therefore, it’s not possible to discover the connotations of her signs at a glance, unaware of her cultural context and lived experience.The author has used the method of visual rhetoric analysis, to achieve the meanings of these paintings. This research perspective, is a useful way to unravel the hidden connections between images and semiotic systems. The current research is a case study in the field of visual semiotics, with a descriptive-analytical approach. Of the 143 known paintings by Frida Kahlo, 55 examples are self-portraits. Of these, 8 works have been selected by targeted sampling, to be analyzed for the discovery of rhetorical tropes and encoding methods in Frida’s work.Frida believed in Mexicanidad, a nationalist and romantic movement to counter the humiliation of the indigenous Mexican culture by the Spaniards. Thus, in many of her works, she represents ancient rituals, Aztec myths and popular culture. In contrast to the patriarchal tradition of female objectification in artwork, she always stares at the viewer of her self-portraits with a strong and excavator gaze.According to Kenneth Burke, the most important rhetorical tropes are the four main tropes of metaphor, metonymy, synecdoche, and irony. Among these, Frida has used metaphor in self-portraits such as The Dream (1940). In this work, the skeleton is a metaphor for death and Frida herself is depicted as a metaphor for life. Also, in another painting, The Wounded Deer (1946), Frida depicts the deer as a metaphor for her past and her sufferings.Metonymy can be found in a work called Two Fridas (1939). In this painting, European clothing is metonymy for modernity, Tehuana is metonymy for tradition, and scissors are metonymy for patriarchy. Also, in a work called Thinking About Death (1943), the artist’s forehead is metonymy for thinking, and the skull is metonymy for dying.Synecdoche can be seen in Self-Portrait Along the Borderline Between Mexico and the United States (1932). Ford complex, skyscrapers, industrial products and the flag, each are synecdoche for the US or the modern world. On the other hand, the Aztec temple, ancient fertility statues, and pristine nature are synecdoche for Mexico or the pre-modern world. Also, in another work called Roots (1943), the piece of land on which Frida sleeps, can be considered as synecdoche for her homeland and birthplace.In My dress hangs there (1933), Frida brings together the values and symbols that are the pride of the US, but in fact, she ironically mocks the cultural signs of this country. She also uses irony in Memory (1937). Cupid, the Greek symbol of love and affection, is used in this work to portray suffering from tragic love.
Original Article
Maryam Shafiei Alavijeh; Bahman namvar motlagh
Abstract
At first sight, the Iranian painting is an unrealistic illustration based on literary and historical sources. Nevertheless, a painter does not just illustrate poems and narratives and, in fact, extracts and displays the concept and theme of the story. In other words, the artist creates meaning in the ...
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At first sight, the Iranian painting is an unrealistic illustration based on literary and historical sources. Nevertheless, a painter does not just illustrate poems and narratives and, in fact, extracts and displays the concept and theme of the story. In other words, the artist creates meaning in the work and challenges the audience to attain reality. Confrontation with a dragon has been a subject illustrated in the history of painting with various epic and religious themes and different heroes. The high number of paintings focusing on this subject has generated an opportunity to learn about the relationship between artistic features and motifs in different schools and internal concepts of these themes by matching multiple examples. “Confrontation of Esfandiar with the Dragon” focuses on the event of an Iranian prince confronting a dragon. The present study aimed to study the related documents and gain and analyze the themes of works. Evaluation of four battle paintings showed that each painting is a combination of literary narratives and abstraction of the mind and history of the mental unconscious of the artist, who has been able to properly draw their mental image in Shahnameh illustration. In this study, attempts were made to justify the painters’ objective of painting the image of confrontation of Esfandiar with the dragon as a principle, achieving of which could be the reason for the huge volume of drawings with this theme.
