جستجوی مقالات مرتبط با کلیدواژه "painting" در نشریات گروه "علوم اجتماعی"

A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual’s consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology.In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi’s paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi’s paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi’s paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi’s art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage.

Problem Statement:

 Music has always been a significant aspect of Iranian culture throughout history and has maintained its official status among rulers in various eras of Iranian monarchy. However, with the advent of the Qajar dynasty and Iran's increasing proximity to the West, significant changes occurred in this tradition. Nevertheless, the impact of these changes on the activities of female musicians remains ambiguous. Therefore, the main question of this research is to explore the social status of Qajar-era female musicians based on an analysis of paintings, written sources, travelogues, and their attire as female musicians. Additionally, the research investigates the nature of the musical instruments and tools used by these women, addressing other related questions.

This research aims to understand the position of female musicians during the Qajar period and increase awareness of their status, shedding light on this aspect of Iranian culture.

This study follows a qualitative approach in terms of fundamental objectives. It relies on library-based data and visual content analysis, incorporating the knowledge of semiotics. The findings of this research reveal that, similar to the uncertainty faced by musicians in different periods of Iranian history, concerns persisted during the Qajar era. The level of difficulty and variations in the status of female musicians, whether they were instrumentalists, dancers, or singers, were influenced by various factors. Consequently, female musicians in the Qajar era did not typically enjoy a favorable position. However, some paintings from this period depict them on palace walls and interiors. In summary, the profession of female musicians, both in instrumental and dance roles, was not easily accessible for every Iranian woman. As mentioned earlier, musical training was primarily available to those born into musical families or serving as concubines in the court.

Iranian paintings are illustrated mainly in accordance with Persian literature. The present study examines the thematic, formal, and structural drawings of the illustrated version of Jami's Selselatozzehab. This copy, which has 14 drawings, is currently kept in the treasury of Golestan Palace and is one of the lesser-known copies of the Safavid period, of which no exact information is available except in some sources.This study aims to provide a comprehensive understanding of the illustrated version of Jami's Selselatozzehab by introducing narrative and visual features as well as examining the structure of the design and composition of the drawings. The data of this research have been collected in a library method and have been compiled from a qualitative perspective and in a descriptive-analytical method. The statistical population is all illustrations of the illustrated version of Jami's Selselatozzehab. The results of the analysis show that this illustrated version, which is based on Jami poems and with the philosophical and moral teachings of Masnavi of the Golden Dynasty, as illustrated in the Safavid period around 977 AH, the result of the Mashhad school of painting during the reign of Ibrahim Mirza, ruler of Mashhad. And the content and sources of the narrations, the date of illustration, and the structure of its drawings are all proofs of attribution. This illustrated version has a relative adaptation of the text and images of the drawings, and the involvement of the painter in the development of the anecdotes of the Jami Dynasty has led to a rich narrative and visual richness. The drawings have different focal points, different areas, and open and diffuse structures, which has led to the dynamics of the design.

Apart from the artistic and historical aspects, paintings are one of the cultural, artistic and literary manifestations in different periods of Iranian art history. The first aspect of the importance of these issues is the connection with the rich Iranian literature and the transmission of literature and cultural and artistic traditions of different periods. The study of these works can be important for their conceptual, symbolic, literary and decorative features and visual features. One of the examples of the connection between Qajar painting and literature is the manuscript that was painted by an artist named Karamali in the Qajar period and no specific information about his life is available. The painting, numbered LOT144 R, sold for 6 6,000 at the 2018 Bonhams Auction in London. This copy was made and customized for Mirza Mahmoud Khan, the representative of Iran in The Hague, the Netherlands. This version has 24 images, 9 of which were sold at auction and its images are available. The purpose of this research is to find out the characteristics of Lily Majnoon version related to the Qajar period, which features are influenced by its period. The question of this research is what visual features does this Qajar version of Lily Majnoon have and what effect does it reflect on the atmosphere of her time in painting? The research method in this research is descriptive-analytical using library resources and reviewing the linear sample of Bonhams auction and the method of analysis is based on the principles and visual rules used in the manuscript and its appearance features. The necessity and importance of research is that this rare Qajar version has not been introduced and studied so far and reflects the cultural and artistic features of the Qajar period in linear painting of this period and shows the necessity of this research.

Marriage ceremonies and rituals, courtship ceremony, dowry, yeshiva, hannabandan and Iranian marriage customs in the manuscript of Qajar period in the sixth Majlis painting which is studied in Bonams collection.The purpose of this research is to find out the Iranian wedding series in the six mentioned paintings and to know about the marriage ceremony in this era and its reflection in the painting with visual characteristics of this era. The question of the research is, what ceremonies and stages did marriage have in the Iranian culture of the Qajar period and how is it depicted in the discussed paintings? How is its reflection depicted in the six Majlis of this research? What visual characteristics can be seen in these Qajar manuscript paintings with the theme of marriage? The research method in this research is descriptive-analytical and by using library sources and examining the samples of Bonams auction paintings, the analysis and method of analysis of the works is based on written sources about Iranian marriage and its ceremonies and the reflection of this culture with the visual principles and rules used in the painting of the Qajar era.The results of this research show that the traditional Iranian marriage in the Qajar period had various customs and ceremonies from the beginning to the end, and this ceremony is depicted in this rare copy of the Qajar painting and is decorated with poems by Hafez and Saadi related to the subject of the picture.

In the field of conservation (recognition, restoration, display, maintenance, preservation and bringing values), Canvas-Marouflaged Murals have not been given special attention and these artworks have not been studied separately as a historical artwork with unique characteristics, and the information about these works has been neglected. This negligence has led to wrong decisions and different approaches in the conservation of canvas-marouflaged wall paintings, which consequently resulted in the destruction of some latent values. Due to the existing problems in the conservation of canvas- marouflaged wall paintings, this paper deals with the replication of canvas- marouflaged wall paintings, the way of creation, identification and recognition of canvas- marouflaged wall paintings. This research is applied and in terms of method, it is qualitative. The data is collected through field and library studies and interview, which is used as a comparative-analytical method in the following. As a result of the studies, the criteria for identifying and recognizing the canvas-marouflage murals in terms of construction and method of implementation, the factors that promoted the use of this method in the past were presented. In order to complete the theoretical part of this research, the number of canvas marouflaged wall paintings created for the first time in Iran was identified and presented based on the the research results.

This article, which is a descriptive and analytical research and its qualitative data has been collected through the research method of libraries, has been organized with the aim of studying the stylistic developments of Iranian art after the Mongol invasion and while trying to review the book “Seven Decorative Principles of Iranian Art” written by Yaghoub Azhand and to answer the basic question why in Qazvin school of Safavid period, these themes are mentioned as seven principles of Iranian art? It seems that the drawing of these motifs to the position of the "Seven Principles" was done in line with the policies of Shah Tahmaseb and with the aim of limiting the power of the Ghezelbas. The findings show that in order to achieve this goal, first the royal workshop and library of Tabriz were dissolved as an influential centers and promoters of Ghezelbashi thought, and in the next step, the visual elements of Iranian painting were regulated in two main and sub-areas. Placing elements such as mobility, coloring, and composition in the field of Iranian painting subdivisions meant reducing the importance of the principles governing the Ghezelbashi method, and in contrast emphasizing the arrangement under the heading of the "Seven Principles of Iranian Art" while setting the policy. The nascent Qazvin school in a different direction from Tabriz II school, gave it special credit.

The aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have been analyzed by way of Kress & Leeuwen’s social semiotic model, in terms of representational, interactional, and synthetic meanings. The findings show that these two painters, in spite of similarity in terms of their themes and styles, reach two different points: femininity as represented in Vakili’s work follows a kind of reflective sexism, though in Karimi’s work it follows a passive sexism. In the first one, the form of connection between the elements is narrative, so it can provide a reflection of women’s identity. However, in the second one, the elements are connected through a conceptual pattern as well as a kind of passive sexism is unintendedly reproduced. Vakili represents the subject in a natural space which reminds the women’s status in mythical thinking, but Karimi represents the subject in the context of home and family, something which symbolizes women’s status in traditional society. Vakili’s work invites the audience to think about the effects of external factors in constructing female identity, but Karimi’s paintings call the viewers to have a kind of sympathy and identification with women in traditional family and society.

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.

Qualitative research is a kind of interdisciplinary and transdisciplinary research that can be used in studies and research in the field of art. This process is to be consolidated through some epistemological patterns and views, and its purpose is more to understand phenomena than to predict situations. Qualitative research is influenced by postmodern elements and paradigms, hermeneutics, cultural studies, semiotics, and critical discourse analysis, so from this view, it sometimes has a critical and analytical approach. This article, which has been written using the qualitative research method (sign-semantics), has studied and introduced qualitative research and its usage in artistic studies, and a case study of contemporary painting in the Islamic world. The information and data of this research have been collected based on theoretical studies and library methods. The results of research findings show that: 1- Contemporary painting of the Islamic world, due to its aesthetic dimensions, language, and its contemporary expression and at the same time, as a sign system, it can be taken out of general and sometimes descriptive views by qualitative research and studied in the fields of text analysis. 2- Qualitative research, due to its multidimensional and flexible features, is the most appropriate scientific method and approach in the study of visual arts, especially painting, which often gives different scientific results from the interpretation and analysis of artistic texts. The methodology of qualitative research studies can be related to the approaches such as anthropology, semiotics, cultural studies, language, cognition, and discourse analysis. Appropriate theoretical and analytical capabilities will prepare the researcher. This process through some of the patterns and consistencies will bring epistemological perspectives and the aim of understanding the phenomenon will have more predictable situations. Qualitative research is influenced by the sphere of postmodern paradigms, hermeneutics, cultural studies, semiotics, and critical discourse analysis. So, from this point of view, this approach includes analytical and critical features. The present paper uses qualitative research methods to review the application of qualitative research methodology in studies of Contemporary art of the Islamic World. Information and data were collected and reviewed in a library method. The results suggest that the Contemporary Painting of the Islamic World due to the specific cultural and aesthetic dimensions and, at the same time as a sign system can be reviewed by qualitative studies and their research frameworks. They also show that previous studies that only contain history are far outside the mainstream; Hence this paper takes on new areas of scientific study.

In the tenth century AH, India and Iran became great powers under the rule of two prominent Safavid and Gurkhanid dynasties. The peak of Safavid power in Iran coincided with the glorious power of the Gurkhanids in India, and this coincidence led to the establishment of relations between the two countries. The emergence of a special Indian painting style that arose due to the migration of Iranian painters to India is very important in the history of Islamic Indian art.The images of this period in both countries show that Iranian and Indian women in this period acted not only as dancers but also as musicians. According to the pictures under review, it seems that women musicians were not present in other places except in private gatherings (sometimes in the presence of the king himself and sometimes in a completely feminine manner without the presence of men). . It also seems that female musicians are only shown playing certain instruments, which could indicate that women are more skilled in those instruments than men.In this study, an attempt has been made to take a comparative and analytical look at the drawings of the two schools of Iran and India to find out whether women musicians have an equal position in the two countries and what is the variety of instruments used by them. ?. The results were obtained by examining 20 drawings from each school and using written sources as evidence. This research is a documentary-library with a comparative and analytical method and its data collection method.

In contemporary times, the role of women in the art of painting has played an important role. One of the female contemporary American artists is Mary Beth Adelson, who recreates the works of art of the past with the faces of women and protests against the absence of women in the history of art. In her works, which are based on the element of femininity in the image, there are signs of women's art thinking in reconstructed paintings of women. One of these paintings that is studied in this research is the Last Supper painting, which has been reconstructed with a piece of the face of women artists in the contemporary world. Lucy Lipard's theories are used for the basics of research, which are based on aesthetics and feminine form. In this study, the work of Adelson's Last Supper is studied analytically with Ara Lipard, a theorist in the field of women's art. The present research is qualitative and the methodology of this research is comparative and the method of collecting research information is based on the library method. The questions in this study are: What is the form of femininity in Adelson's Last Supper, and is it compatible with Lucy Lipard's theory? The purpose of this study is an analytical study on the works of Akif and its adaptation to Lipard's theory of female form. The results of this research show that in Adelson's last supper, femininity is the main subject of this painting, the image of contemporary women artists has been used and has replaced the companions of Christ. He reconstructs the face of Christ with a painting by Georgia Akif, one of the pioneers of women's art in contemporary art. This work is similar to Lucy Lipard's theory of feminine form in terms of feminine form,

The painting of the Shah during the Qajar period is one of the main subjects of court sculpture. The face of Naser al-Din Shah (1247 AH - 1313 AH) during his reign goes through a different path from beginning to end. In the early period, his face conforms to the standards and aesthetics of Iranian painting and in the last period of his reign, his face is influenced by the photography industry and social change. A trip to Europe changes European realism and painting. The general question in this article is as follows: What are the changes in the sculptural images of Nasser al-Din Shah in the early and late Qajar period, and the aesthetic criteria of each period due to changing social conditions? Given the importance of paintings of the Shah during the Qajar period, these changes in a painting by Nasser al-Din Shah Qajar are the subject of this study. In order to investigate this issue, the first sculptural painting in the Nasiri period is examined, and then the evolution and differences and similarities of paintings. The content of the present study is qualitative and the method of collecting information is documentary (library) and the research method is historical-comparative. The results indicate that during the long period of Nasser al-Din Shah, Sculpture painting with the theme of the king is seen as one of the main themes in the art of painting. In the early period of his reign, Shah's painting was influenced by the Iranian painting art of the previous and early Qajar periods and has an ancient and idealistic look. In the painting of the last period, due to the influence of social developments of this period, he tends towards realism and photography. The face of the king is humane and real. The subject of a painting by Nasser al-Din Shah can be seen in both periods, but the view of painters has changed according to the social and political conditions of the early and late period, and this is reflected in every painting with the subject of the king. These developments are the result of the Shah's change of mind, connection with Europe, social change, and the use of the art of photography. These factors show that art in both periods is affected by social changes and the view of artists on the subject of sculpture changes with social factors and shows the view of the subject of man in the art of sculpture. [1][1]. This article is the result of a research core entitled "Study of the Art of Sculpture Painting of the Qajar Period" approved by Al-Zahra University

The inner connection of Persian poetry and literature with painting, which shows commonality in imagination and images, has caused these two domains to have deep attachment and provide a common language and expression to describe forms and meanings of the imaginary world. Iranian poets and painters have used special verbal and visual tools to convey these forms and meanings. This article, with emphasis on metaphor, discusses its role and expressive ability in poetry and painting. In the process, the paper seeks to answer: 1- What are the expressive effects of metaphor in Iranian poetry and painting? 2- How have painters used the capacity of metaphor in their visual expression? The purpose of this article is to study the relationship between the two cultural domains of Iran i.e. poetry and painting, and explain their commonalities, that is, in the world of imagination and images. Another purpose is to identify the type of metaphors and their visual kinds in paintings. This is a descriptive-analytical research in which data have been collected through library and documentation centers. The data indicate that metaphor used in Persian poetry in the form of words and sentences explicitly and implicitly transferred to Iranian painting. In other words, painters expressed these metaphors visually in the form of shapes, colors and textures and thus introduced a new visual identity to express themes.

The construct of erotic woman in the history of Iran is a focal point in the history of sexuality. This study is designed to investigate when the woman become erotic using the genealogy. This article used two groups of historical documents: erotic pictures of the Safavid era, and written documents from this period. During the reign of King Abbas, the Great, a transition occurred from literary nudes to erotic nude in paintings. And since then, the images of women were presented with greater individuality in the organs. Towards the Late Safavid, nude images of women are continually symbolized the West. However, the question is not about the dualities of Western women and Persian women, but it is about the controversy between Christianity, Sufism, and Islam. Also numerous dissertations were written about this controversy. Therefore, nudity was attributed to the Western Christian woman. Through depicting female figures in solo paintings and murals, a new definition of femininity gradually began to emerge in the Persian man's imagination, and a kind of geographical shift in the Persian male desire was formed. The Christian woman become the object of Persian man 's longing, whose aftershocks were seen in the Qajar era more severely.

During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing Painting, one can understand the very important and prominent points of musical life, including the presence and service of female musicians and the instruments and innovations of this art in this period. In the history of Iran after Islam, the Safavid era is also a turning point in terms of important political, cultural, and social changes, and Safavid miniature, like other branches of art, was no exception to this rule. The present article intends to comparatively examine and explain the identity and social status of female musicians with a comparative approach and in a descriptive-analytical and historical method and according to library sources and museum documents left from the Timurid and Safavid eras. The main question of this research is as follows; How are the two dynasties’ insights into female musicians explained in works of art? Studies show that despite the similarity of the maps of these two periods, in the Safavid era, however, greatness and respect for women and musicians were more than the Timurid period. In the Timurid era, female musicians were performed in quiet, unhurried gatherings with the king, usually in the lower house. In the early Safavid period, women were depicted with court men and close to the king, and in the late period, in crowded scenes; Instead of playing more, they dance and their position has seen a temporary decline.

Mashhad designing book school is one of the most important artistic Iranian schools which were formed in Prince Ibrahim Mirza's library (Mashhad governor during Safavi dynasty) in the second half of 10th century A.H. The illustration of valuable gnostic content such as Jami's Haft Awrang (i.e.: seven thrones) with a great attention and also using new painting patterns were impressive in the development of the other schools. The main goal of this research is to answer the following question: what is the effect of mashhad designing book school (that was supported by the literate and virtuoso Prince Ibrahim Mirza at the Safavi dynasty who was interested in Astan Ghods Razavi at the second half of the 10th century A.H) on the expansion of the painting patterns at the end of the 10th century? Which school has the most influence and derivation? And what is the aim of that? According to the results, Mashhad school, despite its short age, grew up so rapidly and impressively influenced the expansion of new contents and structural patterns in Iranian courtier and commercial schools at the second half of the 10th century A.H; among these schools, illustrated manuscripts at Shiraz school has been inspired dramatically by the painting patterns of Mashhad school. The method of the research was analytical-comparative and data gathering is library and documentary-based.

In modern times, sign has been the center of human’s attention and is among the topics that have undergone thorough rethinking. Qajar painting has witnessed the development of semiotic readings in recent decades. Abundantly seen in Qajar painting, bird is one of the main signs in Qajar period. Adopting iconographic interpretation, Erwin Panofsky (1892-1968) relates studies on the history of art with other studies of humanities. In comparative studies, we do not always examine formal qualities of an artwork, but find relations between the work and literature, philosophy, social system, and other cultural systems of its era, whether the artist had such an intention or not. To do so, the research analyzes the key concepts of Panofsky’s theory. Based on this analysis, the main question of the research is as follows: According to Panofsky, what is the signification of bird in the portraits of men and women of the court in the Qajar era? The content of this research is qualitative and based on descriptive-analytic methodology and the method of library data collection. The findings indicate that the norms of aesthetics of Iran in the preceding periods influenced the display and presence of bird in Qajar art. In these works, bird acts as an active and dynamic symbol that is in balance with the painting and manifested in the evolution of the final process of the portrait.

Since the early Qajar period, many travelers have been able to provide unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We see the reflection of this beauty in the paintings of this period. But the point that attracts attention is the remarkable difference between the women's survivors of the Qajar period with travel writings and paintings of this period. What has been studied in this research is the study of the accuracy of the Qajar women's background based on archaeological evidence. The collection of materials in this library research is written in a historical-analytical way. Accordingly, the questions of this paper are as follows: How is the apparent image of women in Qajar period paintings compatible with other archaeological evidence? And if the difference in the apparent appearance of the women left behind in the archaeological evidence of the Qajar era, what factors or factors has caused this? The results of the surveys show that we are seeing some kind of difference between the pictures left with the paintings of this period. In the Qajar period, the painter's painter has tended to face the idealism and lack of simulation. , It can be said that women in the paintings of this period are instrumental in expressing the glory of power and monarchy.