جستجوی مقالات مرتبط با کلیدواژه « field of power » در نشریات گروه « هنر و معماری »

The Saqqakhaneh School of painting was central in the historical artistic transition to Modernism after the Constitutional Revolution in Iran. This school of art emerged under the Pahlavi regime and was extensively supported by Iranian nation-state. The modernizing state used this school of art as a unique form of propaganda to represent Iranian cultural heritage in its desire for modernization and its aesthetic orientation towards the West in the global stage.
The Saqqakhaneh School continued to influence postrevolutionary visual arts exposing a plurality of artistic tastes as well as an ambivalent and contradictory artistic practice. Using Pierre Bourdieu’s sociological approach to the study of art, this article offers a critical and impartial assessment of this school by locating it within the Iranian artistic field of power while valuing the social character of the artists in the production, circulation and
consumption of this school of art.

The present article analyzes the contemporary post revolution wall painting art and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power. The main hypothesis in the article is that the wall painting art is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post revolution wall paintings in the city of Tehran. The way the present artists act, the position and place of this artistic field in social, political and art situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the revolution. The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre revolution paintings and is based on the cultural capital which is itself resulted from the current political governance. The dependence of wall painting to the field of power, in the height of revolution andsimultaneous with its victory, connected this art to the main focus of power, the Mass and revolutionary forces, and was supported and confirmed by the revolution after its consolation and establishment of field of power.