فهرست مطالب amir rezaei nabard

Undoubtedly, art has been one of the most influential features of cultural development throughout human history. On the other hand, the sustainability and growth of art in the context of culture has been possible depending on scientific education. One of the best ways to teach art is to acquaint students with the moral course of the greats of art and to recognize and evaluate their valuable works. In the meantime, the life and works of Master Farshchian have been considered as a clear example of these great men. Master Mahmoud Farshchian, as the most famous contemporary Iranian painter and as a world-renowned artist, has made a significant contribution to the revival and promotion of Iranian painting and traditional arts in general in the contemporary period. Throughout his professional life, he has always defended the lofty and eternal position of Iranian painting, both by writing early articles and by the works he has created during his career. He has never, in fact, degraded the status of Iranian painting, both nationally and internationally. Farshchian brought the fame of Iranian culture and art to the attention of the world, especially Europe and the United States, by teaching, lecturing, and setting up his exhibitions at major universities and art centers around the world. The artist has earned such a status during his lifetime that he has received inscriptions from high-ranking kings and officials, presidents and prime ministers of various countries, as well as museums, libraries, personal collectors and art enthusiasts. Prominent university professors and internationally renowned artists, although they consider Farshchian to be the origin of Isfahan and Iran, consider him to belong to the world's cultural and artistic heritage with great insight and his works in interaction and understanding between people of different civilizations. They have been considered effective and efficient. In this regard, the United Nations Educational, Scientific and Cultural Organization; UNESCO has published selected works by Mahmoud Farshchian in two voluminous volumes by Homai Publications in New York and in the printing presses of Zalborg, Germany (1991) and Florence, Italy (2004). The German edition of the book has been introduced as the most exquisite art book of the present age. Federico Mayor and Quichiro Matsura, former UNESCO executives, have also written valuable introductions to the work. The artist's name is registered in the list of 21st century intellectuals and now in Iran, the style and method of Farshchian is well known and due to its wide and undeniable effects, it has countless followers who have created a certain school of this style. Of course, in addition to influencing contemporary Iranian painting trends, it has also had significant effects on Iranian national and traditional arts. However, given such a position, one of the most appropriate and strategic measures of the Ministry of Education has been to appreciate and protect the personality of this famous artist in the form of assigning lessons or chapters to his life and works in textbooks.

The first step was to introduce and describe accurately and documented art textbooks on the subject of Mahmoud Farshchian, and in the next step, pathology and recognition of the strengths and weaknesses of these resources, to adopt strategic and effective policies in this field.

Basically, from the beginning until now, have the textbooks for teaching art on the subject of Mahmoud Farshchian been documented and comprehensively described and described? And have these sensitive resources been pathologically analyzed in terms of their educational role?

 

This research, with a descriptive-analytical method and with library and field documents and information, while introducing and describing the relatively comprehensive textbooks of art education textbooks (with Farshchian focus), especially middle school textbooks, since 1983 by teaching and Breeding has been published, addressing the pathology of the form and content of these resources.

In this research, an attempt was made to introduce and describe the relatively comprehensive textbooks of art education, especially middle school textbooks, which have been published by education since 1983, to analyze and pathology of the form and content of these resources. As mentioned in the text, the reflection of the life and works of Master Mahmoud Farshchian in the form of art education books has been a very correct and worthy action by education, which in addition to the technical and educational dimension of the artist's works can be inspiring and encouraging. Students and students should be talented, on the other hand, it is a reminder to honor and the enduring figures and artistic figures who have always been emphasized by human and Islamic teachings. From this point of view, the measured action of the "Educational Research and Planning Organization" of the Ministry of Education, especially about a high-profile and global figure such as Mahmoud Farshchian, is highly commendable. From another point of view, along with these advantages, there are shortcomings and disadvantages that the author has obtained by carefully observing the publication of educational books on the art of life and Farshchian's works in recent decades. It is hoped that this pathology and recognition of strengths and weaknesses, which is based solely on sincerity and compassion, and based on the original expertise of the author (Farshchian Studies), at least as a scientific and research proposal to the "Educational Research and Planning Organization" Be considered and followed up. If these shortcomings were raised by a not-so-prominent and irresponsible organization, as well as by a not-so-prominent artist, perhaps it would have been tolerated. However, we are dealing with the most sensitive and fundamental organization responsible for the education of the country and with the most prominent Iranian painter or artist. Undoubtedly, if this research is an example of pathology or scientific and constructive critique, it can be effective and efficient in adopting macro and strategic policies of the Ministry of Education on the subject of this article.

The Traditionalists’ viewpoints on the philosophy and wisdom of art are one of the richest and most prominent in the discourse of “Traditionalism”, which has been widely criticized in the contemporary era, and especially in the field of art, and has always been cited and referenced. Today, faces such as René Guénon, Ananda Coomaraswamy, Frithjof Schuon, Titus Burckhardt, and Martin Lings are known as founders and commentators of Traditionalism. Meanwhile, Nasr, as the Iranian representative of the Traditionalist viewpoint, as well as the most famous academic personality among the living Traditionalists, has deep Attitude about Traditional Art, Religious Art and Sacred Art. On the other hand, traditional Iranian painting as one of the most influential Iranian-Islamic Arts, and in particular the works of Kamal –o-din Behzad, Sultan Mohammad and Reza Abbasi, have always been a favorite and the field of research by scholars, philosophers and international artists. Meanwhile, The style and works of Mahmoud Farshchian, as a standard example of this research, have emphasized the fundamental, aesthetic and beneficial use of the original art of painting. In the contemporary era, in addition to the revival of classical painting and the creation of style and modern school, he has also had a significant contribution to the development and richness of traditional and national arts. Farshchian has distinctive styles and outstanding works that have never been taken from the Traditional perspective. The problem of this research is to consider and extract a comprehensive, new and intrinsic theory about Farshchian’s works, while adapting and critically analyzing Attitude of Nasr on art with the works of Farshchian, and identifying the means of differentiating and sharing these two components, which can comprehensively represent Farshchian’s artistic system in the Iranian-Islamic art system. The type of research, theoretical basis, research method, comparative and analytical and information gathering method, library documents. The data analysis method has been quantitative and qualitative. In this regard, the statistical community of this research is composed of the technical and applied comprehensive works by Mahmoud Farshchian. The technical works of the artist, including the works of books and unpublished works, that total over 538 works. Among them, the three images of “Simorgh, Ghaf and Thirty Birds”, “The Great Test” and “Ashura Evening” due to the special content and visual capacities as standard examples of Traditional Art, Religious Art and Sacred Art of Nasr Adaptation and critical analysis. With regard to Nasr’s differentiation in art with Farshchian’s works, the theory of “Transcendental Art”, along with its cosmology and its foundations, has been proposed by the author to address the critique and deficiencies of rival theory such as “Traditionalist Art” on Farshchian’s works and, in general, the Iranian-Islamic art system. It is also anticipated that in view of the extensibility of this theory, in the case of the proof of Substantive Theory (Farshchian’s works), it is to be found in two other levels of theory, namely, the formal or intermediate theory (Iranian-Islamic arts) and the Grand theory (Islam world arts ) Will also be generalized.

Persian literature is one of the richest and most influential cultural fields in Iran and the world with masterpieces having always been praised in the East and in the West. For a long time, Iranian painting and Persian literature has had close relations and each one has been a source of inspiration for the other. The main question in this research is how much Farshchian, the Iranian miniaturist, has benefited from the Persian literature in his work? Also, why and how has the artist benefited from literature and, in general, how has been Farshchian's approach towards the Persian literature? The purpose of this study is first to explain the extent of the artist's inspiration gained from Persian literature, and then his approach towards this field. This research is of a theoretical and descriptive-analytical method done with a hermeneutical and synthetic approach. Library methods of gathering information, field information and data analysis methods have also been applied quantitatively and qualitatively in this respect. The results show that in addition to the significance of Persian literature and the way the artist has benefited from this field, Farschchian's approach towards the Persian literature has had a purposeful and gradual course of dependence towards independence. He has been under the domination of great Iranian poets and sought to reflect the objective world and the visual narrative of the Persian poet's thoughts, but has shown a gradual shift in the narrative of his inner world.

In etymology and terminology of the Iranian painting style of the contemporary period, unfortunately the inappropriate word 'miniature' has been wrongly institutionalized within the artistic community. Namely, without referring to any specific document or research conducted, many people have not only accepted this foreign word but have also contributed to the promotion and spread of the use of this unprofessional term, thus adding to the misunderstanding of many of the audience of such artworks. The western miniature is totally different in terms of fundamentals and approach with that of the eastern taste and worldview specifically the noble art of Iranian painting and has also portrayed less consistency in material and technical characteristics. On the other hand, and taking into account the characteristics of the Iranian painting, i.e. being 'insightful', ' Thematic', 'structured', 'functional' and 'technical', it might be assumed that except in rare cases such as the small artwork background and some technical subtleties, the western miniature share not so much commonalities with the Iranian painting. But the contemporary Iranian painting, which is the continuation of and in line with the traditional one, has similarities and differences with the previous painting schools and yet enjoys its own specific functions and concepts. Through a comprehensive and professional approach towards the general, classic components the works and styles of the contemporary painters could be analyzed comparatively and their similarities, differences with and distinctive features from the works of traditional Iranian painters be specified. Due to their specific, independent character with that of the of traditional Iranian painting styles, amongst all, the works and style of one of the most prominent contemporary Iranian painters, i. e. , Mahmoud Farshchian, have been studied and analyzed comparatively to clarify the proportions and relations existing between the two artistic periods. This paper endeavors to study the trend of creation and evolution of Mahmoud Farshchian’s style and get a clear idea of its principles as well as theoretical and practical foundations and aims to make a comparative study of the artist’s painting style with that of the traditional Persian painting styles. Making a comprehensive survey of the artist's style will not only clarify its position as compared to the previous painting schools and help evaluate its relation to the styles of the contemporary era, but also significantly contributes to make further policies and develop the future prospects of Iranian painting. In this study, a collection of non-repetitive texts and para-texts of the artist’s major and minor books including colored works, with or without identifications, black and white pencil sketches, unpublished works in possession of state museums, private collections and undisclosed locations, making a total of over 538 works created between 1945 to the beginning of 2014, have been studied. Employing a descriptive-analytical approach, this theoretical paper has made a comparative analysis of the features of 'traditional Persian painting' with 'modern Iranian painting'. The theoretical and practical foundations of Farshchian’s style have been studied for the first time through a comprehensive and multidisciplinary desk study of library resources as well as field studies of the author taking into account all the artworks created (538 pieces) by the artist.Based on the findings, it is concluded that the western miniature, in its principles and viewpoint, is different from the taste and worldview of the eastern art particularly the Iranian one and is more dissimilar with respect to the materials and technical features employed. It could also be assumed that except in rare cases such as the small background of the artwork and some technical subtleties, the western miniature could not possibly share much similarity with the Iranian painting. However, on the word “Iranian painting’ or better say “Negargari” which is far more professional and clear than “miniature”, it should be said that although Negargari is a counterpart to the noble Iranian style of painting, yet we cannot apply the term‘traditional Negargari’ to Farshchian’s artworks because, although they share some commonalities with that of the fundamentals of the noble Iranian traditional painting, yet they possess prominent distinctive features. In every aspect of Iranian painting, Farshchian has employed some innovation and creativity of his own; thus leading to the creation of fresh theoretical and practical foundations that form his own specific, independent style. Taking into account such principles, the works of Farshchian could be called the 'neo Iranian painting' style that has evolved in continuation and in line with the traditions of genuine Iranian painting style.

Modern Iranian painting in its historical genealogy, the similarities and differences relative to other traditional schools of Persian painting and contain functions and concepts of its own. In this regard, works by Hossein Behzad and Mahmoud Farshchian, as two of the most prominent contemporary painters, a clear example of creativity and innovation in the structure and, in particular, are the themes and topics of Persian painting. The first problem in this study, “Subject Classification” of Hossein Behzad and Mahmoud Farshchian’s works and then has been a comparative study and analysis of “subject” in works of these two artists. The purpose of this article has been Clarification of how to use these two artists and Common Subjects and differences of the works of these two artists in “Subject Classification.” In this the theoretical paper that to descriptive and analytical method is performed, an attempt to library information and documents and field, Meanwhile explaining the importance of subject in the Iranian painting, works of these two artists set about “Subject Classification” is that it contains “class,” “standard” and “standard samples” in throughput, then to extraction Thematic categories, The work of these two artists has been the subject of comparative and analytical. Based on the findings of quantitative and qualitative information, taking advantage of the fifteen joint class, especially quantitative use of subjects “lyrical,” “literary” and “social” sharing “subjects” the two most prominent contemporary painter. The works of both artists are the common thread, but in effect that is the subject of artistic expression, differences are apparent. In terms of quality, utilization and themes expressed need, for example, natural and allegorical works farshchian class Behzad works on the same subject, distinction is fundamental. Also farshchian’s natural works addition to the funds, has once allegoricaland symbolic, and often humanitarian issues implicit in them. However, in the works Behzad, the audience is more the expression refers to all natural or animal anatomy or anatomy beauty and it has been raised. Also, with meditation and reflection on the work of Hossein Behzad, can be found in most books, topics, from each hand and each category has been the phenomenon of horizons and outside actors, have been referred, the stories and topics exterior, has been independence and originality. Even Behzad’s philosophical works, often based on literary topics, namely Behzad person is not in position of thought and philosophy, but farshchian frees itself from the tyranny of literature. Precisely this is why the themes and topics “lyrical,” “moral” and “ethical” a serious and lofty position in the classification table are subject farshchian’s works. Additionally, farshchian’s works in quantity, quality and how to express the theme, Away from literature, introspection and invent new themes have differences to Hossein Behzad’s works.

The first and most influential center for traditional and national arts on the contemporary era of Iran was undoubtedly the “old Handicrafts School “, and in particular the National Arts Museum. The issue of this research is to found out their impact and effect on the works of Farshchian and the artist’s mutual influence at these art centers. In this article, which is “theoretical” and “descriptive-analytic” method, it has been tried to introduce the historical importance of the old Handicrafts School and the position of the National Arts Museum in Contemporary period with library and field information and documents, and the impact of these two centers of artistic flowmanship on the works of Farshchian and the artist’s influence on these centers will be reconsidered. The establishment of new school system and the Academy of Sciences and the continuity and necessity of this structure in the next schools, such as the old Handicrafts School, is the reason for the indirect impact of Farshchian’s works from this center. For this reason, numerous interviews with the artist and colleagues and their students and related images should be added. It also became apparent about how this influence was made, more indirectly and relative, through the professors of this system. Farshchian with the effective management of the National Directorate of the National Arts, staff training and drawing for the departmental workshops, and the creation of works of art, has had a significant impact on the young and contemporary Iranian painters.

Horse in pre Islamic and in Myths, religious archaic texts, Shah nameh, historic periodsand remainder works, including very vital and valuable function and always has beenpraised. Horse in that period, has had customic, economic, battle, banquet,hunt,transformational, decorational, ceremonies and etc functions. Also in post Islamic,point to horse in some verses of Koran, Iranian – Islamic texts and Horse books (Farasnameh), expresses good nature and importance of this creature. generally the motifof horse in Iranian culture and art history, particularly in persian painting, has hada superior and worthy place. Also in Mahmoud Farshchian,s works horse has beenapparented in different purporstes. But the aspect of discrimination of horse motif inFarshchian works, in addition to functions of past periods and recreation of works, ispresence of symbolic, psychological and special artistic expression of this valuablecreature. Horse in his Works, is free from every function, profit and aim, and hasshown as sign and symbol of soul, rebel, refinement, freedom, sublimity of soul, andmost profound meanings of secret in human existence that less has been seen in pastworks. In this article, at first, place of Horse in historical periods and then in MahmoudFarshchian works has studied. Hypothesis of this article is based on emphasizing oncreative view and in particulary express of psychology and Semiology of Horse inMahmoud Farshchian works. The theory of research has written based on descriptive-analysis method and also aim of this article, is the survey about position of Horse andits artistic expression and decoding of psychological and Semiotic concepts, where hasappeared in various subjects of Farshchian works.