A Critique on the Farshchian's Asre-Ashura painting

This article tries to investigate the Farshchian’s Asre-Ashura painting from a discursive perspective. It means to consider the artist’s Idea and sight that is implied in the painting as criteria to study the artwork. As well, it means to study the artwork in a broader context of the social and discursive changes.
We have discussed two important subjects in the article, at first, we have categorized existent discourses about the Ashura and Imam Husayn’s uprising and then, we have tried to specify the Asre-Ashura painting relevancy to these discourses. The article main objective is to investigate the place of artwork amongst Ashura existent discourses and as well, to study these discourses impact on the artist.
The question is to which discourses is the artist related and by which approaches or thinker he is affected. This study considers the artist Idea and insight about the universe and phenomena as a fundamental element of the art. Then, it considers the study of the artist ideas and insights a convenient way to study artworks.
The authors conclude that the Ashura discourses could be categorizes in three types: popular, intellectual and theosophical. The article discusses that according to the theme and the main elements of the Asre-Ashura painting, the Farshchian’s Idea seems to be belonged to the first discourse; popular discourse.