per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
7
17
article
1
http://pazhouheshnameh.ir/article-1-53-en.pdf
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
19
38
article
Spatial Asynchrony: The Comparative Reading of the Origins of Modern Spatial Imagination in the Physique of the Nasseri Capital and the Late Safavid Painting
Abdullah Aghai
a.aghaie@yazd.ac.ir
1
The entry to modern era from the Renaissance age required a revolution in spatial perception. The emergence of perspective in Renaissance painting, as well as the appearance of ideas based on the geometric structure of space in urban design were manifestations of this new perception. The traditional Iranian painting was somehow influenced by perspective since mid Safavid period. There is also evidence indicating that the modern concept of space started influencing Iranian urban design and fabric later in mid-Qajar period. The focus of the present research is on the spatial logics of physical changes of mid-Qajar Tehran (the age of Nasser o-Din Shah) and substantial space-making changes in the late Safavid painting. Adopting a hermeneutic approach, the imagination of the space is taken here as a phenomenon whose appearance depends on any given age’s historical ’horizon’. Central to the research is a comparison between the space in two illustrations: Mohammad Zaman’s Offering Iradj’s Head to his Brothers Salm and Tour (1086), and Abd ol-Ghaffar’s 1309 map of Tehran in which urban physical transfiguration is evident. This research finds structural similarities between the ways the modern space was accepted between Iranian painting and urbanism. It appeared in painting at a much earlier stage, rendering painting as the vanguard medium. Comparing the two images, it became clear that the painting’s perspectival orthogons and the city’s orthogonal grid structure were both developed ‘outside’ traditional space. This was interpreted as first and foremost a sign of structural contrast in the space. The painting’s narrative perspectival structure is in the form of vistas and buildings located against a background of traditional space. Abd ol-Ghaffar map’s modern streets and space are also developed outside the old city gates (the traditional town centre). This tension and contrast are gradually imported into the traditional space internalising and intensifying transfigurations.
http://pazhouheshnameh.ir/article-1-54-en.pdf
Space
Westernisation
Modern
Late Safavid painting
Urban physique
Tehran.
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
39
55
article
The Representation of Photography in Abu Torab Ghaffari\'s Illustrations in Sharaf Newspaper with Hypertextual Approach
Manizheh Kangarani
mkangarani@gmail.com
1
Maryam Lari
lari_maryam@yahoo.com
2
The invention of photography in the 19th century in France coincides with the ruling of the Qajar dynasty in Iran, which lasted from 1785 to 1925. The early cameras were brought to Iran not a long time after their invention in Europe; Iranian aristocrats, court men, princes and even the king began to take photos. Photo albums deeply changed the traditional vision of Iranian artists with fundamental shifts occurring in visual arts. Many paintings were directly copied from photos with some omitted or added details. On the other hand, the print industry not only allowed ordinary people to access significant amounts of texts and images, but also caused fundamental changes in the methods of artistic expression. Many newspapers were published in this period and the printed press influenced the spread of the ideas of the Constitutionalist as well as royal messages to the public. Coming from a family of artists, Abu-TorabKashani was a famous court painter. He illustrated about one hundred and fifty lithographic works for a newspaper called Sharaf, which had a distinguished status among State papers. The drawings were mainly portraits court men. He also illustrated many familiar monuments and landscapes. It is evident that Abu-Torab Ghaffari was strongly inspired by photos and usually took advantage of them for his artistic purposes. Exploring ways in which Abu-Torab utilised photos in his illustrations is the main aim of this research. The research method is descriptive based on the intertextual approach of Gerard Genette. It was Julia Kristeva in the 1960s who first used the term ‘Intertextuality’, to indicate any relation between different texts.Thereafter, Gerard Genette expanded on Kristeva, and called the relation between a text and others as ‘transtextuality’, andclassified it into five categories of which intertextuality was only one. A selection of relevant exampleshas been collected here, and their similarities and differences have been explored. Kashani applied methods such as elimination, addition, relocation, detailing, and sharpening for creating a new work of art derived from photos.
http://pazhouheshnameh.ir/article-1-55-en.pdf
Qajar photography
Lithographic drawings
Newspaper illustrations
Abu-TorabKashani
Hypertextual approach.
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
57
76
article
A Comparative Study of the Work of Judy Chicago and the Photographs of Azar in the Light of DaVinci’s "The Last Supper"
Jalaledin Soltan Kashefi
soltanKashefi@gmail.com
1
Painted between 1494 and 1499, Leonardo DaVinci’sThe Last Supper has attracted many artists’ attention, and the painting has been recreated in many forms ever since. More recently, in is not only contemporary artist Judy Chicago who creates her version, but also an Iranian photographer called Azar Emdadi who makes a thought-provoking photo-collage inspired by The Last Supper. The two works are compared in the present paper. It starts by answering the core question of the research: what has raised so much praise about "The Last Supper", and prompted other artists to create wonderful works? The finding is that DaVinci’s work opens up the possibility of creating numerous works in various styles and techniques. The paper concludes that The Last Supper can be seen in the work of both aforesaid artists as promoting new moves both in the choice of subject and the application of technique.
http://pazhouheshnameh.ir/article-1-56-en.pdf
Leonardo DaVinci
;quot
The Last Supper;quot
Judy Chicago
Feminism
Azar Emdadi.
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
77
103
article
Postmodernist Takes by Claudia Palmarucci and Soodi Sharifi from Kamal o-Din Behzad’s "Harun the Caliph in the Bath"
Nastaran Nowroozi
n.noroozi794@yahoo.com
1
One of the most important features of postmodernism is a return to the past and the deconstruction of its literary and artistic texts. It is on this basis that many contemporary postmodern artists have created texts having their takes and adaptations from past works. Behzad's painting "Harun the Caliph in the Bath", depicted for the Timurid version of Nezami’s Khamseh (Pentalogy), is a text interpreted by contemporary postmodern artists Soody Sharifi and Claudia Palmarucci, with both of them having created their adaptations. This has caused textual and discursive associations between Behzad's painting and works of Sharifi and Palmarucci despite them stemming from different discourses. The present paper is a discursive study of these texts and their interdiscursive relation.It tries to answer the questions of what discourse each of these texts reproduce, and what is the interdiscursive relations between them? The research is descriptive, analytical and comparative and is based on the discourse analysis model of Fairclough and the interdiscursive approach. An extra-textual and discursive study of these texts showed that they reproduce three discourses: those of past mystical-Islamic, cultural-critical (of Iranian-Islamic culture) and contemporary cultural-European; and thatthe three topics of the artist’s nationality and his/herhistoric background, cultural and artistic traditions, as well as the society and the context of producing the text, have played important roles in shaping the meaning of these texts, their links and their discourses.
http://pazhouheshnameh.ir/article-1-57-en.pdf
Postmodern
Discourse Analysis of Fairclough
Inter-discourse
Kamal o-Din Behzad
;quot
Harun the Caliph in the Bath;quot
.
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
105
124
article
A Comparison between Narrative and Interactive Systems Based on the Relationship between Picture and Writing in Willy the Wimp and The Boxer Picture Books
Maryam Mehrvarz
maryam_mehrvarz@yahoo.com
1
Mas’oud Mojaveri Agah
masoudmojaveriagah@gmail.com
2
The Picture book is an artistic–literary work utilising both picture and writing systems to communicate. Expressive tricks from both language systems are veryimportant. The interactions between the two can form a narrative in a layer superior to each in the picture books. Therefore, the study of such expressive tricks in the Willy the Wimp and Boxer picture books are in the agenda here. It is intended to find out how expressive tricks generate narrative and interactive orders. To do so, semiotic, theories of ‘conjunctionand disjunction’ or ‘classic narrative’, as well as ‘co-presence’ systems have been used. The paper concludes that any trick is presentable by the author, provided it is expressed as an interactive structure or approach for the subject.
http://pazhouheshnameh.ir/article-1-58-en.pdf
Picture Book
picture
Writing
Narrative interaction
Willy the Wimp
The Boxer
per
Iranian Academy of Arts
Pazhouhesh Nameh-e Farhangestan-e Honar
1735-7896
2019-10
2
3
125
140
article
Comparative Studies; the Outcome of the Orientalist Discourse
Sadeq Rashidi
1
Aimed at studying the backgrounds of comparative studies, the present paper focuses on comparative studies in relation to the historical development of Orientalism. Comparative studies particularly expanded over the past decade throughspecialist publications. However, this topic can be discussed and reviewed in several respects and it requires critical revisions as well. Moreover, it deserves a critical re-reading in many respects. There are new academic disciplines based on comparative studies, including analytical and comparative histories of Islamic art –currently problematic and ambiguous disciplines– and of course comparative literature, which can be considered as the formative ground for comparative studies. Nonetheless, this specialismis considered in mainstream research methodology as a research method, whereas the history of its emergence shows that comparative studies have initially been a method of encountering 'the other' from the viewpoint of the Western subject, and not a method or an academic discipline. Accordingly, understanding the philosophy ofcomparative studies and its related theories, and applying them in literature and art, requires first and foremost a knowledge of the origins and contexts of its formation.
http://pazhouheshnameh.ir/article-1-59-en.pdf
Comparative studies
Orientalism
Philosophy
Religion
Art
Literature.