Search published articles
Showing 26 results for Painting
Volume 0, Issue 3 (9-2008)
Abstract
Abstract one of the most important purposes of studying Persian painting is to discover the mysteries of these traces and proving their relation with other Iranian and traditional art literature and with a special point of view showing their connection with the layout and grammar design in the past time. The growing of this art isn’t separated from the life of the adherents. And it’s to be effective on producing all traces of Persian painting, and always have related to the rich contents of Iranian literature; and to make available space for growing and raising the culture of this country. Traveilling through this way has created a wonderful force on personality of the painters, so that connected their mind with the principle source, away from the world powers. For studying and analyzing the structure of the two masterpieces of Persian painting of manuscript books (Shahnameh - Baysonquri and Haft Orang - Jami), the article is trying to point out and explain about the grammar design of these paintings and the way that these scientific method can be used in the new graphic arts
Volume 3, Issue 1 (3-2012)
Abstract
Based on the theories of René Wellek and Henry Remak, interdisciplinary studies, as a sub-category of Comparative Literature, started to grow since 1980’s. The study of the relationship between literature and such arts as literature and painting has, since then, attracted the interest of many researchers. This paper is as attempt the relationship between poetry and painting through the poetry and paintings of Sohrob Sepehri. What have been discussed in this interdisciplinary research are the concepts of stasis and dynamism, which appear differently in the written language of poetry and the visual medium of painting. Though the main emphasis of this research is on interdisciplinarity, it still offers new perspective to a better understanding of Sepehri's poetry and paintings. The writers have tried to open the way for further interdisciplinary research in the field of Comparative Literature by elucidating a clear theoretical framework and research methodology.
Volume 3, Issue 2 (10-2015)
Abstract
One of the most important characteristics of Iranian paintings is their connection and unity with Persian literature, which resulted in the formation of common language and similar subjects in these two art fields. However, since the Zands Dynasty, especially their late era, a certain divergence occurred between painting and poetry due to the weakness of literature and the fact that the painters were more influenced by the European art. While focusing on the benchmarks of the poems of the return era, and the Royal Court portrait paintings, this study strives to examine the common aesthetic connection between these two fields of art through performing historical, descriptive, analytical and comparative study, and achieve the response to this question that Which factors were effective in the formation and flourishing of the literature and painting during the reign of Fath Ali Shah Qajar and how and to what extent are their common aesthetic links? The painting and poetry of this era managed to achieve flourishing thanks to the supports granted by an art-lover king, i.e. Fath Ali Shah Qajar. Due to the policies of the Shah during his 37-year reign against the arts, a suitable basis was provided for the alignment of these two fields of art in a new and different manner (notwithstanding the occurred divergence) so that the painters act independently in choosing their subjects, and do not refer to poetry so often, while trying to take benefit from poetical descriptions and literature aesthetic criteria, and represent the same through a human-oriented vision.
Volume 5, Issue 13 (5-2017)
Abstract
Qajar wall painting includes different fields and works dispersed in various locations such as royal buildings, private houses, public places and holy shrines under the dynastic rubrics, epic, sensual and religious contexts. Religious murals in shrines and tombs, especially those depicting Prophet Mohammad's Mi’raj are among the ones which could be seen in such places.
Mi’raj has been described as both a physical and spiritual journey. A brief sketch of the story is in surah al-Isra of the Quran and other details come from the hadith, which are collections of the reports, teachings, deeds and sayings of Muhammad. In the Isra, Muhammad traveled on the steed Buraq to "the farthest mosque". Traditionally, later Muslims identified the mosque as a location in the physical world, the Al-Aqsa Mosque in Jerusalem. At the mosque, Muhammad led other prophets in prayer. He then ascended to heaven in the Mi'raj journey where Prophet Muhammad spoke to God. The remembrance of this journey is one of the most significant events in the Islamic calendar. Due to the significance of this event, it has been manifested in the realm of art from days of yore.
Although we can find different stages of this historical-religious event in the works of lithography and miniature, not many of them have been studied in the field of wall painting and popular arts. Having
examined such works of art, some questions are proposed as follows: firstly, what are the structural and aesthetic elements in these religious wall paintings? Secondly, how these elements are depicted and what similarities and differences do they share with works of lithography and miniature? The results of this research done in analytic and comparative methodology reveal that these wall paintings are more, in term of quantity, distributed in northern provinces of Iran and the scenes related to "visiting the lion" prevail as a result of Shiite beliefs. But the illustrated scenes and stages in lithography and miniature are more diverse including different events. Of other things we should note and compare in here are the execution and decoration of works besides the style of depicting the elements, their colors and sizes as well as the background of each medium and some other slight differences.
As to the differences of artworks in these three artistic media, we should mention that in works of miniature and lithography, there are more stages and episodes to be seen. Furthermore, due to the technical and expressive capacities of each medium, there are more figures and details in miniature in compare to those of lithography and on the other hand, more ones in lithography than wall painting. But as to the similarities, there some points to be noted. The central position of the Prophet and his praising of God during the journey of Mi’raj, the adaptability of the clothes and other elements with the features of the era in which paintings have been executed, and lack of perspective as well as depiction of the climax of the story with somewhat epic aspects are all among the similarities in each of the works of the three fields.
Volume 6, Issue 3 (10-2014)
Abstract
This article seeks to answer this question that how the Buddist art could grow and develop in the Central Asian countries. The Muryan Empire of the Bactrian State (321-185 BC), in the mid-third century BC, tried to promote the Buddhist sect in the West. The Kushanas (near 100 BC) stablished a new civilization in the history of Bactria. Afterwards, the Kushanas Empire became the eastern neigbour of the Sasanian Empire. Then Kushanaz territory was conquered by the Sasanian Empire. From the sttelement period of the Central Asia Budhist, four kinds of art works have been discovered: 1) Graffiti; 2) Architecture of Buddhist temples; and 3) Buddhist iconography; and 4) Kushanas art and jewelery. The ancient city of Termez in the south of Uzbakistan has an important role in this sect as a main center of Buddhism. In the north part of Termez, in a place named “Qara Tepe”, of an anciant monastery have been discovered in including the Khalchyan palace. Afrasiab, Samarkand in Uzbekistan is the most important archaeological site that underscores the art works of this period. What connects Marve in the Sasanian Turkmenstan with the East is a stupa Buddhist temple built outside the wall of the city.
Volume 6, Issue 3 (12-2018)
Abstract
Sa’adi’sBoostan is one of the books illustrated in different ages by different painters. The painting“Begging man in front of Mosque” is one of the maintained illustrations in Cairo library which is illustrated by Kamalodin Behzad. The basis of the Behzad’s illustration is the Sa’adi’s poem which in this story uses the Hadiths and storied and narrations and is expressed in a poetic manner. On this basis, it is assumed that Behzad also used the narrations, hadiths, and stories in order to illustrate the Boostan. Using novel techniques of the work reading which are conventional as intertextuality at present and codified in Janette’s thought in details, one can provide a comparative analysis of the textual references in an inter-textual manner. In this research, one of the Trans-textual Janette’s typologies is used in order to investigate how the painting“Begging man in front of the mosque” by Kamalodin Behzad is related to the Sa’adi’s poem“Love and Passion and Drunkenness”.This research seeks to find the answer of this question: what other sources did Sa’adi use in this and what text and references did Behzad use in illustrating this poem, in addition, to compare the painting with the poem. This research is theoretical and fundamental in term of methodology and this is conducted in descriptive-analytic procedure and the note-taking was used to gather information. The research findings based on the intertextuality discourses imply that Sa’adi used the narrations and Hadiths in writing the Boostan.In addition, Behzad also used these resources in illustrating the text as the main origin of the images and didn’t rely only on the mere reflection of the story.
Volume 8, Issue 3 (9-2020)
Abstract
The narrative literature in Iran has always been one of the main sources of inspiration for many arts. In the meantime, the contribution of visual arts and drama is more than other arts. Accordingly, painting and cinema create the strongest link with literature, and in a fruitful effort, they offer valuable literary materials in a new garb, tailored to the needs of the day and in the form of a new media. Undoubtedly, in this transaction, the theme is also evolving due to the capabilities and features of the destination. Such developments, if intelligently and consciously recognized by the artist and the critic, are not only not considered shortcomings, but can also be added to the original value of the theme. With such a necessity and purpose in the present research, we try to examine the developments of the media and, of course, the sign of the narrative of the "passage of Siavash of Fire" from literature to painting.
This research is descriptive-analytic and based on Prop's pattern. The results indicate that the frequency of the role of the special features of the story varies according to the characteristics of the destination media (painting). In fact, the artist painter based on his artistic taste emphasizes the consequences of the story, which is not very frequent in Ferdowsi's narrative.
Volume 8, Issue 32 (4-2020)
Abstract
Folk tales were made popular among people in Qajar era. The advent of lithography in this period contributed greatly to the dissemination and expansion of these stories, especially the illustrated lithographs that made stories more visually appealing to people. The story of the Noosh Afarin GoharTaj is a proverbial folk tale from the Qajar period which depicts Prince Abraham's love, King of China's son, for Prince GoharTaj who is the Prince of Damascus. The author and timing of this folk tale are unknown. However, numerous lithographs of GoharTaj's story show its popularity. Given the importance of this story for the public, the present study examines one of the most important lithographs of this story, the first one, dated back to 1847 and kept at the Lynch National Academy in Rome. This edition is illustrated by two illustrations by the most prominent illustrator of lithography books, Mirza Ali Gholi Khoi in 57 paintings. This study examines the popular story and the importance of lithography in promoting this story. The main part of the article is devoted to analyzing the illustrations of this edition from the perspective of iconography, demonstrating imaginary and mythical creatures, and drawing scenes of martial arts and martyrdom. The results of the research show that the illustrator has been trying to portray the paintings in a way that is popular and appropriate to the needs of his age.
Volume 9, Issue 37 (3-2021)
Abstract
Abstract
The epic of Khavaran-Nameh, composed by Ibn Hessam Khosfi, is a unique work in the field of literature and painting in the Turkmen era in the 15th century. It is one of the best-known Shi'at books composed in Masnavi style and has been a novelty in Iran’s history of literature and art bearing both epic and religious genres. The first illustrated manuscript of Khavaran-Nameh belongs to the painting school of Shiraz-Turkmen. Along with its literary texts, unique paintings with epic and religious themes were also created and the painter tried to convey the good and evil in different social classes, from the highest attributed to prophets and imams, to the royals, courtiers, ordinary people, and at last, underlings and sinners. The goal of this research, firstly, is studying and identifying the characters existing in the text and illustrations of Khavaran-Nameh, and secondly, it aims to compare their pattern of clothing according to the literary text of the narratives. The research questions are: what is the relationship between the text and the illustration in describing and representing different characters in the paintings and stories of Khavaran-Nameh? What similarities and differences can be observed in diverse clothing of these characters? The results of this study show that the characterizations in the text and the illustrations of Khavaran-Nameh are largely consistent. However, there are certain differences owing to various religious beliefs and artistic tastes. The difference between the text and the illustration is more distinct when the clothing pattern of characters are compared.
There are several studies in the literature concerning Khavaran-Nameh. Tazian-Nameh Parsi is the abstract of the literary text of Khavaran-Nameh (Khusfi, 2003). Butiqayeh Ghesse-haye Boland A’amiane Farsi: Romance-e A’am provides illuminating information on folk literature and supernatural creatures (2019). There are several studies on Khavaran-Nameh that analyze the illustrations, too. Two prominent instances are “Interpretation of Khavaran-Nameh's Paintings: an Iconology Approach” (Akhavani and Mahmoudi, 2018) and “Khavaran-Nameh from the Perspective of Miniature with an Emphasis on the Influential Factors on the Formation of Artwork and the Analysis of its Symbols” (Memarzadeh, 2011).
Aims, research questions, and hypotheses
This study aims to analyze different characters in the text and the illustrations of Khavaran-Nameh as well as the characters’ clothes based on their social status and rank. The questions were posed as follows: What social classes and characterizations have been used in the text and illustrations of the manuscript Khavaran-Nameh? What is the relation between the characters of the narrative and their clothes in the illustrations? It appears that the miniaturist of this manuscript has been under the influence of religious beliefs and has exaggerated some of the epic or religious aspects while disregarding some others.
Data collection
This quantitative and qualitative study was a basic-applied research with an inductive method, and the data were collected through library-based research. The population of the study included the oldest and the most exquisite manuscript of Khavaran-Nameh preserved at the Golestan Palace library in Iran (no. 7570 at the Museum of Decorative Arts). Given the limited number of illustrations in this manuscript, all of them were studied to reinforce the results of the study.
Analysis and discussion
The characters of Khavaran-Nameh were categorized into five groups in the text: social class, gender, age range, literary aspect, and supernatural creatures. In the social class category, the characters were uniform to a large extent in both literary and pictorial content, and thus, common people had not been illustrated. The male characters were uniform both in the text and the illustrations, and as a result, women were illustrated limitedly. The age ranges of characters were not clear in the text and pictures. In the illustrations of characters, the epic-religious aspects are emphasized more than the romantic. Imam Ali is the most important epic-religious character who is the main subject of miniatures. The illustrations of supernatural creatures were more detailed than the text. The type of clothes that have been illustrated in this manuscript were congruent with the customary clothes at the Turkmen period. This type was similar to the Timurids’ who ruled the eastern part of Iran contemporary to the Turkmen; all pieces including headwear, garments, and footwear were completely alike. Except for the headwear, the illustration of the clothes of religious leaders were similar to that of the kings.
The recognition of different clothes was based on the characters categories. In the social class category, religious characters, courtiers, and Pahlevans shared similar type of clothes except for the headwear. The garments of Imam Ali were the most various compared with that of the other characters from all social classes. A noteworthy point in this manuscript was that common people were not illustrated and could not be analyzed. There was no difference between the clothing of women and men; however, the number of women characters was limited. The distinction between the characters' clothes based on the age range was not clear, but the youth's clothes were different. In epic miniatures subcategory, the troops had helmets and battle equipment; however, Imam Ali was in his common clothes. In the religious subcategory, contrary to the common belief, the clothes of religious leaders were not simple and had many decorations. In the two romantic miniatures, women's clothes were simpler than men. In the category of supernatural creatures, the angels' clothes had many decorations similar to the religious characters and the only difference was having a crown and wings and no footwear. The demons had no other clothing than skirts which symbolizes their lowly existence.
References
Abbasi, S. (2019). The Rhetorics of long folk stories in Farsi: popular romance. Ruzegar.
Akhavani, S., & Mahmoudi, F. (2018). Interpretation of Khavaran-Nameh's paintings: an iconology approach. Visual Arts, 23(2), 23-34.
Khusfi, M. (2003). Persian Tazian-Nameh (translated into Farsi by Hamid Allah Moradi). Markaz-e Nashr Daneshgahi.
Memarzadeh, M. (2011). Khavaran-Nameh from the perspective of miniature with an emphasis on the influential factors on the formation of artwork and the analysis of its symbols. Khorasan Socio-Cultural Studies, 19, 162-177.
.
The epic of Khavaran-Nameh, composed by Ibn Hessam Khosfi, is a unique work in the field of literature and painting in the Turkmen era in the 15th century. It is one of the best-known Shi'at books composed in Masnavi style and has been a novelty in Iran’s history of literature and art bearing both epic and religious genres. The first illustrated manuscript of Khavaran-Nameh belongs to the painting school of Shiraz-Turkmen. Along with its literary texts, unique paintings with epic and religious themes were also created and the painter tried to convey the good and evil in different social classes, from the highest attributed to prophets and imams, to the royals, courtiers, ordinary people, and at last, underlings and sinners. The goal of this research, firstly, is studying and identifying the characters existing in the text and illustrations of Khavaran-Nameh, and secondly, it aims to compare their pattern of clothing according to the literary text of the narratives. The research questions are: what is the relationship between the text and the illustration in describing and representing different characters in the paintings and stories of Khavaran-Nameh? What similarities and differences can be observed in diverse clothing of these characters? The results of this study show that the characterizations in the text and the illustrations of Khavaran-Nameh are largely consistent. However, there are certain differences owing to various religious beliefs and artistic tastes. The difference between the text and the illustration is more distinct when the clothing pattern of characters are compared.
There are several studies in the literature concerning Khavaran-Nameh. Tazian-Nameh Parsi is the abstract of the literary text of Khavaran-Nameh (Khusfi, 2003). Butiqayeh Ghesse-haye Boland A’amiane Farsi: Romance-e A’am provides illuminating information on folk literature and supernatural creatures (2019). There are several studies on Khavaran-Nameh that analyze the illustrations, too. Two prominent instances are “Interpretation of Khavaran-Nameh's Paintings: an Iconology Approach” (Akhavani and Mahmoudi, 2018) and “Khavaran-Nameh from the Perspective of Miniature with an Emphasis on the Influential Factors on the Formation of Artwork and the Analysis of its Symbols” (Memarzadeh, 2011).
Aims, research questions, and hypotheses
This study aims to analyze different characters in the text and the illustrations of Khavaran-Nameh as well as the characters’ clothes based on their social status and rank. The questions were posed as follows: What social classes and characterizations have been used in the text and illustrations of the manuscript Khavaran-Nameh? What is the relation between the characters of the narrative and their clothes in the illustrations? It appears that the miniaturist of this manuscript has been under the influence of religious beliefs and has exaggerated some of the epic or religious aspects while disregarding some others.
Data collection
This quantitative and qualitative study was a basic-applied research with an inductive method, and the data were collected through library-based research. The population of the study included the oldest and the most exquisite manuscript of Khavaran-Nameh preserved at the Golestan Palace library in Iran (no. 7570 at the Museum of Decorative Arts). Given the limited number of illustrations in this manuscript, all of them were studied to reinforce the results of the study.
Analysis and discussion
The characters of Khavaran-Nameh were categorized into five groups in the text: social class, gender, age range, literary aspect, and supernatural creatures. In the social class category, the characters were uniform to a large extent in both literary and pictorial content, and thus, common people had not been illustrated. The male characters were uniform both in the text and the illustrations, and as a result, women were illustrated limitedly. The age ranges of characters were not clear in the text and pictures. In the illustrations of characters, the epic-religious aspects are emphasized more than the romantic. Imam Ali is the most important epic-religious character who is the main subject of miniatures. The illustrations of supernatural creatures were more detailed than the text. The type of clothes that have been illustrated in this manuscript were congruent with the customary clothes at the Turkmen period. This type was similar to the Timurids’ who ruled the eastern part of Iran contemporary to the Turkmen; all pieces including headwear, garments, and footwear were completely alike. Except for the headwear, the illustration of the clothes of religious leaders were similar to that of the kings.
The recognition of different clothes was based on the characters categories. In the social class category, religious characters, courtiers, and Pahlevans shared similar type of clothes except for the headwear. The garments of Imam Ali were the most various compared with that of the other characters from all social classes. A noteworthy point in this manuscript was that common people were not illustrated and could not be analyzed. There was no difference between the clothing of women and men; however, the number of women characters was limited. The distinction between the characters' clothes based on the age range was not clear, but the youth's clothes were different. In epic miniatures subcategory, the troops had helmets and battle equipment; however, Imam Ali was in his common clothes. In the religious subcategory, contrary to the common belief, the clothes of religious leaders were not simple and had many decorations. In the two romantic miniatures, women's clothes were simpler than men. In the category of supernatural creatures, the angels' clothes had many decorations similar to the religious characters and the only difference was having a crown and wings and no footwear. The demons had no other clothing than skirts which symbolizes their lowly existence.
References
Abbasi, S. (2019). The Rhetorics of long folk stories in Farsi: popular romance. Ruzegar.
Akhavani, S., & Mahmoudi, F. (2018). Interpretation of Khavaran-Nameh's paintings: an iconology approach. Visual Arts, 23(2), 23-34.
Khusfi, M. (2003). Persian Tazian-Nameh (translated into Farsi by Hamid Allah Moradi). Markaz-e Nashr Daneshgahi.
Memarzadeh, M. (2011). Khavaran-Nameh from the perspective of miniature with an emphasis on the influential factors on the formation of artwork and the analysis of its symbols. Khorasan Socio-Cultural Studies, 19, 162-177.
.
Volume 9, Issue 41 (11-2021)
Abstract
Various aspects of popular culture in Persian painting is a tradition that has been used for centuries. Basically, realism and folk culture have been considered after Herat school. Painters not only use these cultural elements to create the atmosphere of their works, but give them a metaphorical role to present a semantic layer to the audience. This function is mostly seen in mystical paintings through the display of the appearances of folk culture. Humans and their material tools, in the actions and situations of people, are the subjects of folk culture that play a role in the association of meaning. So, paying attention to ordinary people, especially in the rural and non-urban areas, and using them metaphorically, help the better understanding of the main theme. In this descriptive-analytical study via the case study method, various elements of folk culture in a painting of Mirseyed Ali entitled "Taking the Majnoon to Leili's Tent" has been read metaphorically from the perspective of folk culture.
Volume 10, Issue 1 (5-2022)
Abstract
Alamut Castle is one of the most important Ismaili castles. In the previous studies, mainly historical sources have been referred but pictorial sources, especially paintings, have not been paid much attention. This paper intends to examine the location of Alamut and show how these images can be used to rebuild the castle. Reconstruction of Alamut Castle, whether in the form of a digital image or in a higher step in practice, requires various supports, one of which is the drawings of historical texts, because it provides an image of the castle before it was destroyed and its grandeur shattered. In an attempt to find this embodiment, this study examines the drawings of three ancient historical texts, namely Jahangisha, Genghisnameh, and Jame al-Tawarikh.
Volume 11, Issue 1 (2-2004)
Abstract
The proscription of illustration and painting in Islam is a topic often discussed by researchers and art-ists. Most orientalists have suggested that Islam generally opposed art, especially painting and illustra-tion, thus resulting in a number of limitations. A survey of different prophetic sayings on this subject (hadith singular, hadis plural), verses of the Qur'an, and artworks in the era of the caliphs has been pe-rused in this article. It seems that a core factor for the restriction was the possible reversion of newly converted Muslims to polytheism and idolatry. This was a genuine concern in early Islam. Today it is generally unknown, unheard of or simply ignored in the world of Islam. Islam has not prohibited paint-ing rather it does emphasize beauty and aesthetics.
Volume 11, Issue 2 (7-2023)
Abstract
The problem of the research is that what is the characteristic aspect of Goethe's attitude towards nature and the depiction of nature in the works of German romantic painters? Therefore, the specific aspect of their attitude towards nature is analyzed in a descriptive-comparative way. Goethe, especially in his youth, in addition to the influence he received from Rousseau, Herder and the stormy and stress pre-romantic movement, had a more romantic attitude towards nature, and in general, nature for him, in his poems and some works, means the life of primitive societies, simplicity and untouchedness in front of civilization. (Rousseau), the spontaneity and immediacy of perception of nature of nature related to people's life and art, is beautiful nature and God, all of which are considered a kind of romantic perception of nature. Although he also defends classicism, Faust seems to be influenced by the visual point of view of romantic artists. This research comes to this conclusion from the study of Friedrich and Runge's attitude towards nature. It is more romantic. Friedrich moved from the conventionalistic symbolism of his early works to a more refined and poetic naturalism based on Goethe's mood and considered the perspective of the subject to nature in his paintings. Despite Goethe's advice, in his short life, Runge showed the romantic concept of "Hieroglyph of Nature" as an essential element of language and culture.
Volume 12, Issue 1 (8-2020)
Abstract
Pierre Bourdieu, a French sociologist, believes that the tastes, judgments , and talents of people are social things, resulting in the social process of being a person during life. He regards the taste of the artist as the creature of taste for society, the taste of the class with cultural, social and symbolic capital. This paper aims to explore the comparative study of the signs of change in the works of Kamal al-Molk and Jacques - Louis David, based on Bourdieu 's ideas. Each of the two painters has worked on the milestone in their history. In this study, we have tried to explain a descriptive and historical method in addition to finding the cause of specific style selection of each of these painters, why or not the signs of change in works of David and Kamal al-Molk, can be explained using Bourdieu 's ideas. Findings indicate that the selection of naturalist and naturalist styles is influenced by the two artists influenced by the educational system, cultural capital, and their position in relation to the field of power. In relation to the signs of change, you cannot see a change in Kamal al-Molk works, given the inclusion of him in the category of independent artists of the field of painting, while in David, due to his position in the ruling class opposition, the change will be seen.
Volume 12, Issue 5 (12-2021)
Abstract
La notion statistique de non-généricité, transmise et illustrée par Jean Petitot, permet de repérer, en particulier dans les œuvres d’art picturales figuratives, des faits d’organisation improbable des formes. Ces faits sont immédiatement repérés par la vision humaine et constituent des entités significatives intrinsèques. Ces entités seront, au niveau de l’interprétation ultérieure, investies sémiotiquement, porteuses de significations non plus perceptuelles mais conceptuelles. On appliquera ce concept à la brève analyse d’une œuvre de Cranach l’Ancien et, de manière plus approfondie, à l’analyse d’une série remarquable de Sahabi, Junkyard Cars. Un nouveau parcours génératif se dessinera, de « nature morpho-sémiotique », selon les mots même de Petitot.
Volume 12, Issue 58 (9-2024)
Abstract
Similar to religious reverse glass paintings, Gilan's holy shrine paintings are also religious art from the Qajar period. Among these paintings in the matter of religious beliefs and artists' origins, a unity in the style of narration and illustration can be found. Transtextuality, introduced by Gérard Genette, is one of the most important theories in literature and art. He addresses different ways of how a text can remind the reader of a previous one and guide the reader towards it. The main question of the research is which factors that have been used in reverse glass paintings and holy shrine paintings have transtextuality and similarity. The research method is descriptive and analytic and the library collecting content method is taking fiche notes and reading pictures text; the data analyzing is qualitative. Findings are indicative of a similarity and transtextuality relation between holy shrine paintings and reverse glass paintings. Forgery similarity is the application of visual elements and semantic implications, with functioning and imitating form and pretext content. Transposition Transtextuality in the visual structure and semantic implications has a critical role in hypertextuality. Artists have created a new concept by modifying elements and changing the concept in Gilan's holy shrine painting.
Volume 13, Issue 2 (3-2022)
Abstract
Social status indicates the position of the individual in the social structure and in the historical texts of the Safavid era, important information about the social status of artists, including painters, is provided. Despite the general dependence of art on the court, painters in this era were not the same in terms of status and social status, but several components determined the ups and downs of their status. The purpose of this article is to explain the role and social status of Safavid painters in historical texts with emphasis on political historiography, art historiography, memoirs and travelogues. This article is of historical type and with reference to the topics of historical sociology and the method of library research and has been done in a descriptive-analytical manner. Findings indicate that in the historical texts of this era, the position, status and position of painters have been influenced by such things as: religious policies, art of Safavid kings, political competitions, the continuation of artistic families and social mobility by Safavid neighbors.
Volume 13, Issue 3 (5-2006)
Abstract
Two oriental and western symbols are recorded in the memory of the world. Kamal Al-din Behzad (1460-1535.A.D./ 865-942 A.H.) is the painter of Iran's golden era and Leonardo da Vinci (1452-1519.A.D./ 857-925 A.H.) is the verstile artist of Italian Renaissance. The life stories of these two artists are more or les similar. During childhood, both experienced a hard time and during youth and adulthood their artistic styles not only changed the art of their own time but have greatly influenced the future generation. Aim: Finding the common artistic opinions, thoughts and behaviors of the two contemporaries but with two quite different artistic, social and cultural styles. Method: In this study, attempt is made to review the works and approaches of the two artists, comparatively and analytically using the archive method. Findings: The common and coincidental features being observed are as follows: 1-Applying dramatic expressionism 2-Applying intuitional and emotional expressionism, particularly in portraiture (expression) 3-Creating emotional relationship among the figures 4-Associating the figures with architectural and natural backgrounds 5-Creating extraordinary figures 6-Directing conflicts 7-Giving conscious attention to war themes (More than a typical narration of an exciting event) 8-Employing spiral infrastructure in composition Conclusion: Some basic common changes occurred simultaneously at two distant places in the Iranian and Italian arts. Although the two artists had been living in two completely different geographical and cultural environment, even working with two different styles in the visual arts, they had rather similar features regarding their ideas and artistic issues. By comparing the works of these two artists, we can find their imaginative behaviors in terms of visualizing ideas and themes as well as narrating religious and war subjects.
Volume 13, Issue 54 (3-2017)
Abstract
This study aims at investigating theoretical principles of Persian paintings’ in “Blind Owl “in order to highlight the function of this element besides other internal and external origins as the main sources of inspiration of this novel. Research methodology is descriptive –analytic by using and compiling library data .The results showed that the writer who is familiar with painting characteristics’ founds to great extent the basis of his modernist expression on this these principles. As the main characteristics of Persian painting, it should mention psychoanalytic elements, dereism, poly narrative, typical characterization and disclosure of time and space. We can easily pursue the traces of these features in this novel as its foundations. The main scene of this novel, to say the story of old and fairy –faced is a prevalent phenomenon in the history of painting whose elements such as nymphaea, water, cypress etc. establish a kind of symbolic correlation between this novel and Persian painting.
Mehdi Loni, Parviz Eghbali, Farideh Davoudimoghadam,
Volume 15, Issue 58 (8-2022)
Volume 15, Issue 58 (8-2022)
Abstract
One of the key motifs in Shahnameh is the struggle between evil and good. Motifs serve a unique and essential role in the text’s visual and narrative networks because of their distinctive repeating feature and characterization. As a result, they assist in enhancing the text’s semantic layers. In Shahnameh and epic literature, the struggle between evil and good permeates human social interactions and appears as motifs in heroic and epic stories. Motifs are used by the painter to create visuals throughout the text visualization process, and visual elements are placed in the composition in line with the motifs employed in the literary text and take on the function of symbols and signs. This study examined the roles that literary motifs play in the visualization of an epic narrative and in shaping the visual narrative. The main research question was: What functions do the literary motifs from Rostam’s Seventh Labor play in rendering paintings and transforming the text of Shahnameh into a visual text, and what techniques does the painter employ to visualize such motifs. A descriptive-analytical methodology was used in this qualitative study. A desk study was used to collect the data. The results showed that the motifs of the text are represented in the visual symbols and signs of the paintings. Paintings can be composed and planned utilizing these aspects in accordance with the priority of motifs employed in the literary narrative thanks to this visual translation from the literary text.
Extended Abstract
Recurring and salient in pictorial and narrative networks of the text, motifs have a prominent and fundamental role in literature. They foreground the literary text, adding layers of meaning. Good versus evil is a major motif in Ferdowsi’s Shahnameh where the struggle eventually surfaces in humans and social life, manifested in the form of heroic stories and epics. The battle of Rostam and Div-e Sepid (the White Demon) is one of Shahnameh’s stories illustrated frequently in the miniatures of different periods, spotlighting the importance of its illustration. The general theme of the “Haftkhān” (known in English as the “Seven Labours of Rostam”) is the hero (good) saving Iran and the king from the demon (evil) and ultimately, his victory over evil after undertaking seven difficult tasks. The major motifs in the literary text used in this narrative network include real human characters (hero or good or Rostam), real-bestial characters (Rakhsh), mythical-legendary elements (evil force or Div-e Sepid), events encompassing the main actions in the story (slaying Div-e Sepid, overcoming evil, and dropping the blood of the demon’s liver in Kay Kavus’s eyes to restore his sight), symbolic objects (the blood of the demon’s liver), natural elements (black cave), unusual incidents (the seven labours). In the process of illustration, the miniaturist uses motifs to produce the images. Therefore, pictorial elements become symbols when they are placed in the composition according to the motifs. The contribution of literary motifs to shape the pictorial narrative in the illustration of an epic was a central discussion in this article. This study attempted to answer the following main questions: What is the role of literary motifs of the “Haftkhān” in the illustrated miniatures of the story and the process of turning the text of Shahnameh into pictorial text? What techniques have miniaturists used to manifest these motifs in the illustrations?
Bound and free motifs, which form the narrative network of the text, were extracted and compared with the illustrated versions of the stories in miniatures. The purpose of this study was analysing the place of the literary motifs of the “Seven Labours of Rostam” in the formation of illustrated miniatures of this story. In this qualitative descriptive-analytical study, the data were collected through documentary and library research.
The results showed that pictorial signs and symbols in the miniatures appear in congruence with the manifestation of the motifs in the text. Such an illustrated translation of the literary text has led miniaturists to utilize motifs used in the plot based on their priority in the composition and framing of their works.