Study of structural characteristics of persian painting in the work of three postmodernist artists (Case study: Farah Ossouli, Singh twinghs and Shahzia Sikandar)

The art in postmodern period provides a context in which the return to the past and traditions, cultural eclecticism and self-reliance is appreciated. Therefore, it seems that at this time it is possible to predict the artistic infrastructure that, in reliance on past art, in addition to being contemporary, works well in dealing with native and non-native audiences. The present research seeks to answer the question: How can a proper relationship be established between the past illustration tradition and the requirements of the postmodern society, and how to find a way to create a contemporary work using the past tradition (especially painting)? Therefore, in order to achieve this goal, the structural features of persian painting in the works of three artists from Iran, India and Pakistan have been examined. The results of this study have shown that many artists have used persian painting as a suitable tool for expressing their concepts and transforming them into their own goals. Indeed, what is important in the creation of a contemporary art in relation to tradition is the recognition of the capabilities of tradition and the requirements of contemporary art. It seems that there is a meaningful relationship between tradition and contemporaneity, and if traditional roots are associated with the recognition of the artist from his contemporary world, a new tradition-based manifestation will appear in his work. In studying the structural features of persian painting in the works of these artists, all the features of painting including multifaceted space, form simplification, line function, color function, flat coloration, framing, special pictorial painting and repetition of patterns are adapted. But these artists, in dealing with each of these features, have their own expression. Farah Ossouli, used various traditional and classical sources, various motifs of illumination, contemporary poetry, handwritten poems and different tool to draw patterns to grant contemporary expression to his work. Singh’s twins, used social and political issues, their own figure, family and well-known contemporary characters, the drawing of technological examples in the contemporary world, exaggerated use of patterns to approach contemporary expression. Shahzia Sikandar, by chaning the traditional size of painting, change in the media like installation, animation and performance create an innovative traditional contemporary artwork. Therefore, a general conclusion can be made that based on the context of this era and the freedom given to contemporary artists in adapting past traditions and diverse sources and according to the wide capabilities of persian painting, many artists made it an ideal tool for expressing their own ideas and transformed it according to their purpose and expression. Indeed, what is important in the creation of a contemporary work associated with tradition is the recognition of the capabilities of the persian painting and the recognition of the requirements of contemporary art. Therefore, it seems that the main hypothesis of the research is that there is a meaningful relationship between tradition and contemporaneity, and if traditional roots are associated with their interaction with this world, a new manifestation will appear in the artist, which, while understanding his contemporary world Will provide a new horizons based on tradition.