جستجوی مقالات مرتبط با کلیدواژه « mahmoud farshchian » در نشریات گروه « هنر و معماری »

Iranian painting totally represents the world of exemplification. This is mainly due to the desire of past painters to discover and display this heavenly world through imagination and themes such as stories and narratives. The display of the world of exemplification has not been limited to the past, and contemporary artists has also sought to exhibit this world in their works, and this has been an appropriate context for their creativity. The present study addresses the way to create the world of exemplification in the past and contemporary artworks and also the difference between its representations in the works of contemporary artists such as Farshchian, Darroudi and Hosseini in comparison with the past of Iranian painting.

The purpose of the current study is to examine and analyze how to display the world of exemplification in the past painting and to know how it emerges in the artworks of some contemporary Iranian painters.

The present findings are qualitative and are presented in a descriptive-analytical manner. The required information has been also collected through library resources.

The results of this study indicated that in the past, artists paid attention to the imagination to draw the world of exemplification and the contemporary artists have also benefited from this ability. The difference is that today every artist uses his own way of expression to demonstrate the power of imagination, while in the past, artists usually followed a certain style. For example, Farshchian by eliminating the reality and paying attention to the stories and narratives, Darroudi by disrupting the reality and imagination and creating unknown spaces, and finally Hosseini by displaying the reality but in the way that the artist imagines, have illustrated their powers of imagination.

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.

After many years of absence of Shiite topics in Iranian painting, Mahmoud Farshchian experienced them in his works. Farshchian, as one of the most famous painters of contemporary period, built a new experience in creating painting with Shiite topics which was welcomed by the public and affected some of the Iranian painters. As “topic” is one of the important aspects of Iranian painting (Negargari), we considered topic, themes and the visual techniques of the artist as the main issues of this article. The aim of this study is to understand and explain the innovations of the artist in representation of Shiite topics and to provide the contemporary painters and researchers with a self-awareness regarding this aspect of Farshchian’s painting. To address the problem, we need to pose such questions as: what are the topics and themes used by Farshchian? why has he used such themes and how has he represented them or through what techniques he created his works? To answer these questions using an explanatory-analytic method for analysis, many data was gathered through studying and interviewing some painters and professors. The written sources, books and articles include data on biography, education, aspects of his style and his innovations in contemporary Iranian painting. Farshchian who was born in a religious family and trained under a Shiite system of ceremonies such as pilgrimage, mourning and resorting, has deeply affected and founded a Shiite aesthetics of his own. Like his family, especially his mother, he has gained his most effective educational experience in Mirza Emami workshop. Trained by Mirza, Farshchian gradually achieved a vision toward art; a vision which identifies art in relation to theosophy.  These two factors have deeply led him to represent Shiite topics with especial characteristics of his own. Moreover, his other masters like Issa Bahadori, and his trips to European countries to study the masterpieces of art in museums have also been influential.     Our study and analysis based on data extracted from sources, clarified that the approach he chose and his inclination towards Shiite topics are related to theosophical understanding of art and social condition in which he created his works. Shiite paintings in past schools of Iranian painting like the Ilkhanid, the Timurid and the Safavid schools, were made to identify and defend the Shiite beliefs which were gradually being welcomed by rulers and the public. After many years of absence concluding the Qajar period and the first Pahlavid era in contemporary time, Farshchian has connected Shiite topics to painting. In this connection, the artist has created a new visual identity for Shiite beliefs and topics in harmony to people and the needs of contemporary world to meaning and spirituality. So he has represented Shiite topics with a cultural approach to manifest Shiite collective feelings and meanings concentrated on Imams, because Shiite art cannot be imagined without Imams. On the other hand, based on a theosophical approach, the painter has focused on an empathetic and conceptual representation of Shiite topics about Imams and their status rather than a physical and narrative one. In this approach, Farshchian has put his stress on meaning and feelings. According to this approach, the artist has formed his Shiite themes in two sorts: firstly, themes regarding meanings related to Imams such as birth, martyrdom, asylum, pleading, guardianship, helplessness, orphanage and final coming of Mahdi, and secondly, themes referring to placement of Imam in this world and the world after death, like mediation, substitution, holiness, etc. These topics and themes have been managed through special visual techniques. So, in the realm of form making and visual techniques, Farshchian has used three kinds of composition in harmony with the themes: concentrative, triangular and vertical. These compositions have enabled him to choose and combine visual elements in a significant form. In addition to composition, the artist has applied visual techniques to form the themes of his own. He has reduced decorative elements to let the viewers seek the meaning, he has also used curved and nonfigurative lines to protect the figures and things from materiality. He has handled the colors in a significant way and emptied the space to reduce the physicality of the space as well as emphasizing on meaning and emotions. The way artist has used colors such as white and green is highly in accordance with Shiite beliefs and ceremonies. Such process of creation, helps the Shiite community to unify around Imam which is the core concept of Shiite identity. This function of Shiite works of Farshchian is achieved through the way his works are used and displayed. The museum in which the works are kept is in holly shrine of Imam Reza. Some of his works are used widely in illustration for religious activities.

A part of the story of Yusuf has been narrated in Torah and in the Surah of the same name in the Qur'an, which describes the story love of a beautiful woman for a young man. Given the relative similarity of this story in the two scriptures, various illustrations have been created by illustrators.  In this research, two works from the scene of Zulaikha's request from Yusuf are studied; a painting by Mahmoud Farshchian based on Qur'anic verses called Chaste, and the painting of Yusuf and the Potiphar's wife by Guido Reni, based on the story of Joseph the Prophet in the Torah. The research questions are: what effects can pre-texts have on hypertextual in portraying a scene by two different artists? What are the similarities and differences in the paintings of Zulaikha's request from Yusuf with different pre-texts?  The main purpose of the research is to study the factors of the Metatextuals such as texture and the cultural and religious pre-textual elements of the internal factors in similar visual systems of narration to find a better understanding of the deep structures of these paintings and the degree of convergence and their correlation by studying these cases. Therefore, using the descriptive-analytical method and with the transtextual and hypertextual approach, various factors in painters' obtaining from this story and its different representations in their works have been investigated. In two different but equally thematic works and discovering the underlying layers of the work and the transition from hypertextual to pre-text (religious text) and intra-disciplinary pre-text (Baroque and Iranian painting style) cultural symbols and indicative elements at the time of the narrative place, the painters received different works and distinctions in their work. One of the important factors of this distinction is the difference in the narrative of two religious texts, one in the Qur'an and the other in the Torah, as well as the cultural and artistic differences in the style of each of the authors, which also influence the audience's reception of the artwork. There are differences between the visual representations of the single text, but the details of the works of the two artists appear to have been more closely scrutinized by the Iranian painter, including the symbols of ancient Egypt which represents the time, location and the narration. Zulaikha’s face has been drawn purely Egyptian and one of the reasons for using different elements and images in the space is the use of an Iranian spaceship that the artist has used well to portray the narrative better, but the Italian painter Guido Reni’s painting is simply European and there is no Egyptian symbol in the work, and painting completely follows baroque style using opposite colors. According to the pre-texts, the Qur'an and the Torah, we found that the story of Yusuf and Zulaikha is more detailed in the Qur'an, but is briefly mentioned in the Torah. Another major distinction between the two paintings is the difference of each painter’s painting style, one drawn with Iranian painting style full of space and detail and the other with Baroque style with simple spatialization and the use of light and contrasting colors without details. After differentiating these two works, there is the difference between narrative in the pre-texts, the cultural differences, the differences in the style of painting and the differences in the perceptions of each artist and their imagination. Thus, every text preserves the tradition and cultural heritage of its predecessors, and the texts are part of an interconnected chain whose authors preserve and display the influence of earlier texts by preserving the contemporary context. The results of the study indicate that although the paintings have a common theme, because of the differences in the hypertextual factors, the cultural and artistic pretexts and the difference in narration in the two pretexts, the Qur'an and the Torah, the effect on artists is seen from different imaginative perspectives in their recreations.

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.

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.

In Iranian painting, the objective core is not a mere imitation or representation of nature, rather it is depicting a symbolic and fantastic relationship between man, nature, and the angelic realm. Meanwhile, Iranian artists have historically valued and believed in the spirits and angels world. An ethereal being that has been adorned heavily throughout the ages. The presence of an angel in a painting is an attempt to materialize a medium, between an unstable world and the observable world, and the Islamic period with its religious stories and narrative works has given a special form to angels. The visual evolution of angels has taken many different shapes and forms, but what is its role in modern times? This study aims to provide an understanding concept of angels as well as a visual and aesthetic perception of them in the artworks of Mahmoud Farshchian. Here, a short introduction to the life of Master Mahmoud Farshchian and the characteristics of his paintings is provided. A number of his painting were selected from among his numerous works, which showed the most visual and formal characteristics and represented a set of paintings in which the drawing of angels could be compared and analyzed. Their visual structure was then investigated with regard to form, composition, color, the place of the subject within the painting, movement, etc. The applied principles and foundations for using this subject, as a prominent form in the works of this artist, were introduced. This article tries to answer this question: what is the formal and visual position of this element, angels, in the works of Farshchian and how is it distinct from former paintings? This is a qualitative study using a descriptive-analytical method. The data was collected through documentary and desk research. The selection and the criterion for classification of painting in different groups were carried out in a way that the selected samples contain the most information regarding the research question. In this approach, instead of content, the focus is on the importance of form as the mental attraction of the artwork. A formalist analysis of an artwork firstly looks at the aesthetic effects of the components of the design. The analysis of the visual and formal structure of Farshchian’s works show a rich visual beauty, which the painter’s capacity for mental representation, and also the expressiveness of the pictures and its harmony with the content. The content and structural study of Mahmoud Farshchian’s works include the form of angels show that in the history of painting this form has mostly not been the core subject of the works. Here, they have been painted independently, and what they share with the works of the past include spiral composition, attention to grid lines and golden divisions, faithfulness to themes and topics and their points of divergence mostly in the method of polishing compare to the past, using acrylic colors, dependence on the traditions of the innovators of painting, and attention to the focus points in the artwork.

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.