A Comparative Study of Postcolonial Reading of by Saqqakhaneh School and Group D`s Paintings in Turkey Based on the Third space of Homi Bhabha

The third space in the Homi K. Bahabha thought, one of the present postcolonial thinkers, is the place where the interaction between colonialism and their colonies takes place. In this space, the similarities between phenomena are highlighted and create a new one, called the Hybridity, and coherently incorporate the cultural elements of both of them, which make them mainstream. In fact the concept of hybridity occupies a central place in postcolonial discourse. It is celebrated and privileged as a kind of superior cultural intelligence owing to the advantage of in-betweeness, the straddling of two cultures and the consequent ability to negotiate the difference. Bhabha has developed his concept of hybridity to describe the construction of culture and identity within conditions of colonial antagonism and inequity. For Bhabha, hybridity is the process by which the colonial governing authority undertakes to translate the identity of the colonized within singular universal framework, but then fails producing something familiar but new. This new hybrid identity or subject-position emerges from the interweaving of elements of the coloniser and colonised challenging the validity and authenticity of any essentialist cultural identity. Given the important role and place of art in the transmission of cultures, The third space and its product appear to be essential in works of art that have been directly or indirectly influenced by non-national art as an element of influence. A space that can be identified as retained the national identity, and it is in line with artistic developments. Expanding of this viewpoint is the subject of this article. The aim of the research is, knowing more the contemporary Iranian and Turkish art in the works of the Saqqakhaneh School of Iran and D Group of Turkey in a descriptive-analytical and comparative approach. Saqqakhaneh, one of Iranian contemporary artistic movement appeared in 1962 with major characteristics include the use of forms taken from traditional architecture and calligraphy, as well as the borrowing of visual aspects of classical Persian painting such as the interpretation of natural phenomena, attention to color balance and distribution, the creation of simultaneous dynamism and unity of different areas throughout the two-dimensional space of the painting, and the inclusion of symbolism in both figurative and abstract forms. The “Group D” artists of Turkey continued in many respects to dominate painting in the Republic in the decades after World War II, many other, smaller groups and movements of artists in all media, but especially painters, began to reflect the increasing pluralism in Turkish culture and society, and an increasing sense of belonging to, rather than simply following, international artistic Movements. Anatolianist tradition and Group D artists and their students and followers had as of that time continued to dominate contemporary art in Turkey. This research seeks to answer this question whether in the contemporary art movements in these two countries, the third space of Homi Bhabha has been formed? From the results of this study we can point out that both schools have access to the third space with a little difference.