جستجوی مقالات مرتبط با کلیدواژه « Coffee House Painting » در نشریات گروه « هنر و معماری »

Coffee house painting is one of the few remaining folk arts in Iran, the origin of which is the national and religious attitudes of the people in the Qajar era, and imagination forms the basis of the images of the paintings, and national and religious myths are also the basis of the content of these paintings. Transferring the concepts of these narratives to the audience is on the shoulders of the warriors of these paintings; warriors who, like the myth, evoke the concept of epic and heroic acts; a great effort to the extent of sacrificing their own life to achieve great and ideal goals. Such a character, in the opinion of mythologists such as Gilbert Doran, represents the symbols of human endurance, who stand against death and mortality with all their material and spiritual powers. Analysing the content of the warrior characters of Ali Akbar Sadeghi's paintings, to find their differences with the warriors of the religious coffee house paintings, based on the opinions of Gilbert Duran and contrary to their formal similarities, is the aim of this research. Also, the causes of these differences in Sadeghi's paintings are analysed and investigated.Referring to the origin of human imagination, Gilbert Duran proves that the products of imagination have an inherent meaning that determines our representation of the surrounding world. According to him, the core of human thinking is formed from imagination. Gilbert Doran's method of understanding the imagination of an author is based on recovering the imaginary poles and finding the relationship between these poles. He also classifies them at the end. Gilbert Duran categorises all images and divides this category into daily and nightly systems. The daily system itself is classified into two groups of symbols that contrast the images: the images of the first group that spread the meaning of the great fear of time. The images of the second group wish to win and overcome the anxiety of time ascension and immortality. Human thoughts in this structure are the same as primitive human thoughts. Based on this thinking, man divides the world into two poles, good and bad.The images of this system are divided into two opposing groups: the first group is images of time and shows the dominance of darkness over light. The symbols of this category try to show the concepts of decay and anxiety by depicting death and darkness. In general, these are images with a negative meaning. These images express the fear of animals, darkness, and falling. The second category of images of the daily system are symbols of separation, illumination, and ascension. In this system, images with a positive meaning are contrasted with negative images. In the nightly system, instead of the images representing confrontation and conflict, the images soften the worry and fear of time. In other words, in the night system, negative images are displayed gently.The method of this descriptive research was content analysis with a comparative approach.Based on the available documents, the peak period of the coffee house painting style can be considered to be the same time as Iran's constitutional movement, in the late Qajar period and the early Pahlavi period. Coffee house painting reached its peak of prosperity with artists such as Hossein Qollar Agassi and Mohammad Modbar and had an impact on contemporary art as well. These artists trained students such as Fathullah Qollar, Hossein Hamedani, Hassan Ismailzadeh (Chalipa), and Abbas Bloukifar, who continued in their footsteps. The painting of a coffee house reflects national hopes and interests, religious beliefs, and the spirit of the special culture of the middle layers of the urban society. The stories of Ferdowsi's Shahnameh and Nizami’s Khamsa, the events of Karbala, Quranic stories, and folk tales are the main themes of this type of painting. The painter painted these themes according to the description he heard from the narrators and religious speakers, and as they existed in the minds of the city's people. The coffee house painter's effort in representing the scene and portraying the external and internal characteristics of the characters is always influenced by his favouring the forces of good. With this moral and ideological motive and according to the narrative logic of his works, he observed certain conventions in the way of drawing bodies and clothes, colour selection, and composition.In the meantime, some artists in the past years have also tried to imitate coffee house paintings, one of the obvious examples of which is Ali Akbar Sadeghi. This contemporary painter has widely used the formal elements of coffee house paintings to draw the warrior characters of his paintings, as acknowledged by many researchers and critics of visual arts. For this reason, there are obvious similarities between his paintings and the religious paintings of the coffee house in terms of form. At the same time, it seems that the actions of warrior characters in Ali Akbar Sadeghi's paintings have deep differences from the actions and epic and religious content of warriors in coffee house paintings.Sadeghi officially started his artistic activity in 1948 by entering the Faculty of Fine Arts of Tehran University. He also learned the technique of watercolor painting under the supervision of Avak Hayraptian. Since 1959, he achieved a special style of stained glass art in which Iranian identity was visible. One of the most obvious characteristics of Sadeghi is his multifaceted capabilities in creating works of art in such a way his artistic career includes making films, animations, advertising graphics, and illustrating children's books. He has won many awards from domestic and foreign festivals in each department. Now, the main focus of his work in the last two decades has been solely on painting. In examining his works, the influence of Iranian painting and coffee house painting is evident.In the present research, the warrior characters in Sadeghi's paintings in comparison with religious coffee house paintings, based on the theory of daily and nightly systems of Gilbert Doran, are analysed. In Gilbert Doran's daily system, the symbols with negative valuation are presented in three categories: 1. Symbols of the animal form 2. Symbols of the dark form 3. Symbols of the fallen form. In opposition to negative symbols, there were symbols with positive values, which are as follows: 1. Separating symbols 2. Illumination symbols 3. Ascension symbols. Also, in the nightly system, we put the harmonising symbols and the symbols that create interaction between two positive and negative poles as the basis of content analysis and the adaptation of warlike characters and their warlike actions in the selected works.According to the comparative tables presented in the research, it is clear that the actions of the warriors in Sadeghi's paintings had significant differences from the actions of the warriors in the paintings of the coffee house. When we use Gilbert Duran's theory of daily and nightly systems as the basis for analysing the content of these characters and their actions, the absence of opposition between the two forces of good and evil can be seen in Sadeghi's works. This unipolarity and bewilderment of the warriors, who are mostly drawn in a fallen state and with dark symbols, has been in deep conflict with Gilbert Duran's mythological approach. An approach that considered the conflict between the two poles of good and evil as the result of human mental confrontation with death and fear. The warriors of Sadeghi's paintings are, more than anything else, tired and as if they are only fighting with themselves, no glimmer of hope can be seen in their behavior, look, action, and even their fighting atmosphere. Only in some of his works, warriors are accompanied by one or more stylized symbols. According to Doran's approach in his daily and nightly systems, the warriors of the coffee house religious paintings are classified into two separate poles and forces; Positive forces and negative forces, just the opposite of what happens in Sadeghi's paintings. Each of these two forces of good and evil also pursue a goal for themselves. According to Gilbert Doran, the force of evil is the force of the passage of time and human fear of death. The forces of good represent humans' confrontation with this fear that the dark-hearted warriors and the good-thinking and benevolent warriors become examples of these mental concepts of man and artist.The findings of this research show that in religious coffee house paintings, the warriors of both good and evil forces were present and the painter took the side of the good forces and in this way, showed the national and religious epics of a nation, but on the other hand, Ali Akbar Sadeghi's warrior-oriented paintings are completely unipolar and evaluated negatively. This is the reason why Ali Akbar Sadeghi's style can be considered to be inclined to the nightly System. A collection in which there is no mention of heroic and epic confrontation.Based on this, in the coffee house religious paintings, warriors of both good and evil forces were present, and the painter sided with the good forces, in this way, he showed the religious epics of a nation. But in contrast and a comparative evaluation, Ali Akbar Sadeghi's paintings are completely unipolar and all warriors are members of the same group. Also, according to the categories of Gilber Doran's daily and nightly systems, in most of Sadeghi's paintings, warriors represent only negative forces, and some of them have stylized symbols that can implicitly represent Gilbert Doran's nightly system. Therefore, it is possible to consider Sadeghi's style in depicting warriors, which was derived from surrealist fantasy, only to a small extent inclined to the imagination-oriented ideas of Gilbert Duran, and it can be evaluated completely in contrast with the religious paintings of coffee houses.

Problem statement: 

There is a similarity between images of the sacrificing of the sacred bull in Mitra’s religion painted in the ancient era and the pictures of Rostam’s battle with the white demon in the images of coffee houses in visual and pictorial characteristics that can be recognized by studying them. This similarity and formal connection is a suitable case for matching and checking the type of composition and the visual and image characteristics of these paintings. Considering that the image of the battle between Rostam and the white demon has some similarities with the scene of the sacrificing bull by Mitra-Mehr, both battles took place in the cave, and in general, the cave was sacred and had an important place in different religions.

By achieving the type of relationships and effects in the elements used in the composition system, such as the type of sitting and standing of figures, guiding lines, and other visual elements, the comparison of works with a qualitative nature has been done.

The type of research is fundamental-theoretical and the research method is descriptive-analytical. Data including the author’s archive were collected the library research method.

The coffee house painters have drawn (the scene of the killing of the white demon by Rostam) according to the previous patterns in the past painters’ works. These effects are evident in the triangular composition system, the sitting position of the figures on the defeated creature (bull and white demon), and the presence of daggers in the hands of Mitra and Rostam. One of the common features of the paintings is the visual representation of the manpower of good and evil. Although the belief in the existence of light and darkness is rooted in the ancient beliefs of Iranians, it seems that the viewpoint of the painters and their attention to good and evil is taken from the Shahnameh.

Coffee house painting is one of the distinctive Iranian painting traditions that dates back to centuries ago; but after the introduction of the oil painting into Persian Art under Safavid rule, experienced drastic developments and since, has striven to evolve in Persian visual tradition along Qajar period and has gone through ups and downs in later periods. The painters of this art style generally depicted religious, epic and folk themes; but basically, the main focus of the patrons and hence the painters was on the catastrophic religious epic of Karbala which narrates the martyrdom of Imam Hussein, the key holly figure in Shi’a School iconography, and his companions in the first century of the Islamic history. One of the most important paintings of the coffee house tradition is the Calamity of Karbala by Mohammad Modabber (d 1967): the second co-founder of the coffee house painting. Working along with his contemporary companion, Hossein Ghullar Aghasi tried to attend Kamal-Ul-Molk courses in order to make new developments in the folklore tradition. Seemingly Ghullar could not come along with the naturalistic style taught there and tried a more symbolic style for his works, but Modabber managed to make a new fusion in-between the two traditions and took his own personal way which later proved to be fashionable among more common citizens and even peasants living in rather remote villages, showing much passion for the visual- verbal narrative performances called Naghali. The whole tradition shows a rigor taste for a restricted number of themes and subjects; namely the religious epic of Karbala, and few subjects stemming out of the National epic of Shahnameh. The visual language of the works is usually astonishingly simple and easy to understand due to the low expectations for taste and understanding of the originally intended audience of the genre, hence makes it appealing to explore the visual system. Analysis of the works show a great application of binary oppositions in production of the narrative in the first sight. Thus, two basic questions will rise: How does this system function in the work; and how generalizable will the verdict be. The present article aims to find answer to the first question through a case study. The notion of binary oppositions was first raised by structuralists, and according to them, it can be considered as the basis for the formation of human language and consequently cognitive frameworks. The present study tries to address the issue of reading the love/hate opposite in the painting "the Calamity of Karbala" by Muhammad Modabber, as one of the most magnificent paintings in the period, based on Roland Barthes’ three-level semiotic model of analysis. The model basically published in his 1964 article, “Rhetoric of the Image” severs the textual meaning of the image into the lingual, iconic and visual levels and analyses each in its exclusive code system. The research is based on a descriptive-analytical method and collecting textual and visual data, with library research (articles and books), and seeks to answer the question: How does the love/hate sign system in the coffee house painting "the Calamity of Karbala" produce meaning through the denotative and connotative referential functions? In this way, the polarization of love/hate is pursued as a fundamental binary opposition in Iranian visual culture. The research findings acknowledge that: in the painting "the Calamity of Karbala" by Mohammad Modabber, the concepts love and hate show obvious dialectic relations in which love overcomes hate, symbolizing a body of opposite concepts in the same manner: obedience, loyalty, spirituality and sacredness, bravery and martyrdom, in opposition to treason, rebellion against the truth, idolatry and profaneness, cowardice and tyranny. Symbolic units provide no meaning independent of the whole set of the work; and it could be noted that the whole system of all these opposite meaning production units lead to a passionate system of emotional reflections alongside with the core narrative of the work, producing an active dialectic interaction between the work and the audience. Hence the work shows a full interaction of all three levels of image reading suggested by Roland Barthes, namely the linguistic, the iconic and the visual in a full range. Furthermore, the denotative message of the painting "the Calamity of Karbala" depicts a neutral narrative of an ordinary historical-religious event; yet, on the contrary the connotative messages, referring to alternative folklore understanding of the catastrophe of Karbala, tries to imply the spiritual superiority and victory of Imam Hussein's army against Yazid's army. In the Lingual level, the presence of the Imam Sajad, the succeeding Imam after Hussein is ignored and despite the figure depicting his holiness, resting as a result of his then sickness, there is no reference to his name in the work. In the iconic level, depiction of the supernatural entities, guardian lion and presence of the fictionally believed Indian army of Sultan Gheys, tending to help Imam Hussein are evident to provide the superiority of his forces; Even the visual management of the elements of work and the styles and expressions suggesting calmness and delight, are shown in figures and faces of all the companions of Imam Hussein during the fight and even their martyrdom. Figure of Imam Hussein in the middle of the upper half of the work is bracketed in-between a row of the deceased prophets on one wing and genies who have come to help on the other. This bracketing will function as a demarcation of the figure, yet the isolation of the holy figures in contrast to the lower sectors and the maleficent army, produces a sense of privacy and spirituality. Most of the righteous army is depicted in white robes against the dark siders in full amour; and white horses of the truth show a salient dominance on the dark horses. Although the account is in contradiction with the reality of the historical documents testified by the canonical authorities, yet it proves to be reflecting the spiritual tendencies of the believers to even change the course of history. In a general view, the image resists and tries to deny the reality of the drastic consequences of the event of Ashura and in order to defy its own believed account seeks to hold on the alternative folklore narratives. Hence the overall atmosphere of the work shows the tendency of love and its superiority over hatred in the work and tries to suggest the love and passion the artist and potential audience for the companions, historical and fictive figures and even the holly figure of Imam Hussein, which in turn could be interpreted as the contextual love of the whole culture for him; A cultural expression that could be identified as a symbol for resistance of folklore culture against the officiality of history.

With the beginning of the constitutional movement and social changes, a new chapter in the history of Iranian painting was opened. The history of Iran after constitutionalism was full of conflicts between tradition and modernity, and the idea of modernity that came to Iran was not properly understood. In fact, the growing movement towards Western art prevented Iranian art from moving naturally in accordance with its internal conditions. In the meantime, coffee house painting and interesting spectacular curtains created by street and mall artists and anonymous ones, are the full picture of the taste, thought and art of their creators, which depict the beliefs and customs of the time. Given the high status of coffee house painting as a folk art in the constitutional period and its comparative and intertextual nature with traditional and modern art, the concept of conversation in Gadamer's thought, as an epistemological approach, can open a new window of consciousness and knowledge to recognize such paintings in front of the audience and to analyze and retrieve them. Qajar painting has a special place in the history of Iranian art, and in the meantime, coffee house paintings are significant as a prominent branch of the art forms of painting of the constitutional era in this period. During the constitutional period, according to the socio-cultural conditions and the idea of modernism and the reflection of Western culture and art, coffee house painting refers to traditional painting in order to revive Iranian-Islamic identity and culture. Coffee house painters are as the most significant contemporary painters of this period of time. The present study answers the question; to what extent is it possible to interpret and understand the works of painters of this period with the concept of conversation in Gadamer's modern hermeneutic theory? and to what extent can this concept help to identify, trace the elements, and how the coffee house painting was formed? The purpose of this study is to describe and read the works of coffee house paintings and Isfahan school murals in the contemporary era using the concept of conversation in Gadamer's theory of hermeneutics. This research has been done with a descriptive-analytical approach based on the intellectual thought of the time and the collection of research resources is in a documentary and library way. The results show that the concept of conversation in Gadamer's thought is a great help to better describe how to create coffee house paintings according to the needs of the audience. The artist has created her work by referring to and conversing with the mural of the Isfahan school in connection with the intellectual-artistic horizon of the constitutional era, which is influenced by the all-encompassing prevalence of Western art elements. Among these, elements such as time, place, audience, themes and popular usage of painting and recitation and quotation of narrators, as another side of the conversation, are important in the formation of coffee house painting.The concept of conversation combined with concepts such as social and cultural context (semantic horizon), and Gadamer's language and tradition, plays an important role in shaping the works of coffee house painters. Contemporary painting was the beginning of the revival of Iranian identity and culture, in line with the influences that had reached Iran from Western art (social and cultural context of the artist's time). Although the elements and motifs of their works are from the past, it was a new experience for a group of Iranian artists to talk to them in their contemporary language by transferring the traditions to the present, because they had a common language with them, which had its place in the heart of Iranian traditions and culture. Since the audience of these paintings was ordinary people, the artist, one of the favorite subjects of the people, and with a suitable public style, painted in his own way in line with the traditional painting style of Isfahan school as an important step to satisfy the tastes and interests of his community. Signs derived from the drawings of the Isfahan school in coffee house painting include such things as balance and movement in visual elements and colors, the type of ideal portrait painting and the display of existential existence in the figures of pure human beings and individualistic faces with characteristics. Earth in the faces of low-level people, animal-like form, diffused and uniform light on the screen, realism in the type of cover of the figures, the importance of linear design and image resolution and simultaneous display of various events, and so on are evident as well. Coffee house painters have dealt with these traditions with prejudices that pertain to the semantic horizon of their time, but on the contrary, they also gave the right to retell their words as a party to the conversation, so that the process of understanding or forming art work is achieved.

Coffee house painting is a style of Iranian painting that was created by unofficial and non-court artists after the reformation of the Nadideh school with martial, religious, and religious themes that emerged by the artists of the Nadideh school. These paintings have a completely folk style and they grew and flourished with other aspects and methods of folk culture. The functional culture of these paintings is such that together with other folk oral cultures such as reciting prayers and reciting prayers, it has accepted the transformation of the society and in the form of a metaphorical style that is rooted in the culture of the not-so-distant past in the period Islamic (Al-Buyeh period) had revealed itself. In this way, the painter is less in pursuit of beauty and tries more to show her religious thoughts in the form of the victory of good over evil and the victory of the saints over the hypocrites in the form of pictorial conventions. It seems that some illustrated narratives in religious curtains are rooted in popular and false beliefs that are depicted in these curtains just to create attraction for the common people. The main purpose of this article is to identify and decode some folk narratives in these paintings. The reason for drawing some unrealistic beliefs in describing the event of Ashura is the basic and central question of this research. The research method in this article is descriptive-analytical based on the paintings of four leading masters of this school. The results of the research show that the painters of this school were mostly illiterate people, and only in order to make the events of Karbala more popular and attractive, in order to express the oppression of the Ahl al-Bayt family, they tried to draw these narratives, which the truth and accuracy of some None of these narrations have been confirmed in any of the sources related to the events of Karbala and also by competent scholars.

The conquest of Khaybar is one of the most important historical events in the Islamic world, which has attracted the attention of artists and painters in different periods of the history of Islamic Iranian art. This event is very important to the Shiites because the Jewish castle was conquered by Imam Ali (AS)  during this event. The necessity of this study lies in the importance of the conquest of Khaybar, the significant position of Hazrat Amir Momenan(AS).

The purpose of this study which is understanding the changes and illustrations of this event in the Safavid and contemporary periods. The present study seeks to answer these questions: How did the painters in the paintings related to the conquest of Khaybar in the two Manuscripts of the Safavid period’s Falnama and the paintings of Mohammad Modaber and Hossein Hamedani represent this event? In the  Safavid and contemporary historical periods, what changes can be seen in depicting the event of the conquest of Khaybar? and In what cases should the causes of changes and differences in the type of representation of the Khaybar event of the conquest of Khaybar be sought in the drawings of  Falnama in the Safavid period and the works of coffee house paintings?

In this research, library, documentary, and visual data were analyzed in a descriptive-analytical manner using a comparative approach and the subject of the conquest of Khaybar by Hazrat Amir Mo’menan(AS) in two drawings of two Manuscripts of Safavid’s Falnama and two samples of paintings by contemporary artists including Mohammad Modabber and Hussein Hamedani were compared and analyzed.

The results show that in illustrating the event of the conquest of Khaybar, the degree of adherence to the narrations in the drawings of the two Manuscripts of Safavid’s Falnama is much higher than the coffee house paintings of Mohammad Modabber and Hossein Hamedani, and in the Safavid period, the miraculous aspect of Imam Ali’s(AS) action was more important than the contemporary period.

The aim of the present research was to intertextual study of the standing images of Hazrat Ali ibn Abi Talib (AS) in the works of the survivors of coffee house painting and have been written in an overlapping range of painting, coffee house painting, miniature, poster, Islamic history, hadith, and narration. Imam Ali (AS) stands alone and carries Zulfiqar with him, in these images. This study seeks to challenge the public’s belief that the reference to the figure and Zulfiqar of Imam Ali is purely historical. In this regard, the authors have identified the standing images of Imam Ali (AS) from the contemporary period to the Qajar period, and they have surveyed with the approach of intertextual and transtextual theory of Genette. They have tried to show that these images, in addition to history, refer to previous pictorial texts. According to Islamic hadiths and narrations, the first standing images of Imam Ali (AS) existed both in the Divine Throne and in the coffin of Prophet Adam (AS). These images were created by the command of God, so the first images of Imam Ali (AS) were spiritual, and the choice of Zulfiqar as a sign of Imam Ali (AS) was also spiritual. According to these hadiths and narrations, the standing figure and the presence of Zulfiqar can be mentioned as the principles or protocols of the standing images of Imam Ali (AS) and considering the observance of these protocols in the works of the survivors of the coffee house paintings, It can be claimed that these works are located at the end of the series that its head reaches to the spiritual images of the Imam Ali (AS). Thus, the images of Imam Ali (as) in the works of the survivors of the coffee house painting have the explicit and implicit intertextual, imitation hypertextual, and the stylistic-thematic derivation relationship with the pictorial and written previous texts.

Coffee-house painting is one of the mos t important branches of Iranian folk painting which is mainly identified with the s tories of Karbala despite its martial and lyrical themes. The s tructure of coffee-house paintings is in harmony with the theme of the s tories they depict. In other words, the coffee-house painting are not a partial representation of an external object, but are generally recognized as portraits that depict various scenes of a given event by creating some sort of link between different events which have taken place at different times and places. In more concrete words, the painter depicts their favorite themes without regard to time, place, realism, or the rules and principles of perspective. These paintings are closely linked to another type of folk art, namely narrative and picture narration. The conceptual themes of these arts are about good and evil, as well as the narrative and depiction of heaven and hell. Accordingly, this s tudy aims to unders tand the conceptual relationship between the s tructure of picture narrator’s narrative and coffee-house painting and to compare the transformation of imagination in two areas of painting and drama. The s tudy seems to give rise to the manifes tation of a fresh look at the arts of performance and painting together. In this regard, by collecting information in a documentary manner and using a descriptive-analytical approach, while analyzing the visual elements of one of the works of coffee-house painting and, accordingly, citing the narratives of famous picture narrators, the research uses Gilbert Durand’s views regarding the nightly constellation of imagination and daily constellation of imagination to address the central issue of the paper which is the transformation of imagination between painting and dramatic action in picture narration. The inclination of Durand towards Eas tern Islamic mys ticism and her interes t in myth led to formulation of the hypothesis that there may be similarities between her view and picture narration. According to Durand, in addition to the results leading to the image which forms the imagination, the process of imagination begins from the moment of receiving the object to its formation in the mind. The act of narrating the picture narrative by displayer transmits it, with the help of human action, from the unconscious scope of the imagination diurnal regime to the imagination nocturnal regime which is conscious. That is, due to being performed in the presence of audience, picture narration is much more effective and influential. The result was obtained by the observation of the audience’s dynamic imagination through performance, the transformation of the regimes from diurnal to nocturnal in three types of picture narration and, finally, the observation of the nocturnal regime effectiveness compared to diurnal regime in picture narration.

In pre-Islamic Iran, narration (Naqqali) was considered as one of the varieties of storytelling, sometime accompanied by music. After Islam's dominance in Iran, narration was one of the few artistic and performative genres that were left out of religious restrictions, and as the only performance form for which ban there was no reason, it managed to combine all playing methods of its time. Picture narration is in the category of traditional plays and is a combination of various arts such as play, poetry-literature, music, singing and painting. This art was performed in two ways: a closed courtyard (coffee house, in banquet narration: mansions); the method by which the screen was hanged or installed on the wall, and open air (squares, passages, fields, etc.) in which scroll screen opened up to the audience slowly, or the second screen of the so-called covering was removed from the preinstalled screen. The images presented in most of these works are imaginary and poetic spatial visualization. This state gives mysterious expression to the natural elements of an image. Although the natural elements in these images are not always symbolic, the depth of these works cannot be realized without familiarizing with literary setting, as well as paying attention to the ancient traditions of the image in Iranian painting. Given the performance’s function, these images have their own effects, not a narrative-related component that has the task of facilitating the comprehension of the text for the audience, but the narration’s subject has been a means for the artist to speak with the linguistic image to the audience. The painter always tries to reveal objects in accordance with his sense of imagination and draws loyal to the original style of dimension processing in Iranian art. In most of these images, the perspective has been created in accordance with the importance and dignity of the individuals; in such a way that the painter, regardless of the temporal and spatial dimension may create events. In the field picture narration, the visual environment and the physical environment are consistent; picture narrator chooses the physical environment according to the environment, hence the two spaces become indivisible. The picture narrator, by masking some of the imprinted forms on the screen, and by placing himself as one of the visual forms against the central narrative forms, changes the proportion of the visual elements of the screen according to his narration. Thus, the spectator's viewing angles, escaping point and horizon line are challenged, and the visual quality of the spectator interacts with the infinite moving objects in the constant screen. Picture narrator combines the role of the profile on the screen with the actual image of the environment in an improvised manner. In this way of narration, the screen is no longer merely the screen of the original painting, but a visionary screen in which perspective, that screen, narrator and spectator are included. This paper examines the action and interaction of the visual and performative elements of field picture narrating, which covers all visual and performative elements, the environment, and in particular, the audience as a perspective, and creates an integrated universe in the making of a world. This space separates the environmental elements from their everyday function and interacts with the visual elements of the screen as well as the performative elements. The creation of this multidimensional space is not merely based on a naturalistic illusion about the actual distances between the represented elements, but it also depends on the dimension, the role (image), the scale of the narration and the performance’s dimension in the environment, and a large number of linkages which place the spectator as the other dimension in it. In this way, this method brings brilliant results and has created a unique way of performing the picture narrating. This article seeks to answer the following questions: what relationship exists between the narrator and the audience with the painting’s screen? how is the screen's relationship with the environment and how can the pre-painted screen be different in each performance? Therefore, using the descriptive-analytical method and with library sources and documentary information gathering techniques, we will study the samples. The result of the research shows that the narrator, with skill in improvisation, identifies the role of the profile on the screen with the actual image in the environment. This is not a mere scroll of the original painting, but his screen is a perspective that includes the screen, the narrator and the spectator.

Religious art is rooted in theology and teachings of the same religion, such as the religious Coffee House painting and also the Gothic painting. School of Coffee House painting was formed and became widespread in the late 13th and early 14th century AD. A Coffee House painting was ordered for a variety of places, including a coffee house, a Husseinieh and etc. The theme of the Coffee House painting is wide-ranging; from religious to epic, romantic, and routine. One of the religious themes of this school of painting is depicted in Ashura paintings. Ashura Coffee House paintings, as a big part of the history of Persian painting and other religious paintings such as Christian religious paintings, are narrations and therefore depended on written and verbal text. Christian painting from the beginning and more since Christianity was declared the official religion in forms such as illustration of books, mural painting, typography, mosaic work, glass painting, portraiture iconography, tapestry scenes and painting on canvas narrates topics such as biblical narrations and anecdotes related to the Apostles and saints. Most of these paintings were created for the church or ordered by the same place. Gothic paintings and issues related to the life of Jesus Christ are part of Christian paintings which in this study will be discussed. Although Imam Hussein and Jesus are different in terms of the history of religion in the two missions of the Imam and the Prophet, they are similar in the works of painting in the periods discussed due to the orientation of these characters.These two types of painting, despite their formation in different times and places, have similar characteristics. As part of comparative studies emphasizes on similarities to study the relationship between texts, the purpose of this study is to show these similarities and in the next step to answer to the question that what causes the similarities? The results indicate that continuous composition techniques (continuous simultaneous and non-simultaneous) constitute the most important similarities between the two areas of painting and the repetition of the uniform visual patterns is another shared aspect in techniques of their visual expression. On the other hand, besides depending on linguistic narratives, the similarity of the attitudes of the creators of these paintings and their educational and religious use in relation to their audience, i.e. general public, are also among the factors that played a significant role in the aforementioned similarities. According to the research history, there are few examples of comparative and inter-cultural studies in the field of Coffee House painting. On the other hand, no article that has been written independently on the comparative study of Ashura in Coffee House painting and Gothic painting has been found. The present paper, with a periodic selection of the history of Western painting, and discovering of similarities and common grounds in creation and receiving of works with regard to Ashura in Coffee House painting and Gothic painting, aims to provide a fresh reader on how to narrate the images. The research is descriptive, analytical and comparative. In each of the domains, two samples are selected purposefully and based on the questions and hypotheses of the paper.

The truth comes from a single source, and it has spread in all levels of the universe. The essence and divine truth are of tradition and wisdom does not deny the truth of holiness .One of the old artistic traditions that has been the product of almost eleven centuries of gradual development of Shiite’s ceremonial mourning is coffee-house painting, which was found in fourteenth century.
What has given originality to these artworks is the inner feature of them according to which, the artist, in a figurative form, has revealed by code and allegory. What has been problem here, is based on the idea of an ideologist, in Ananda Coomaraswamy1 the content of the definition and function of traditional art with this work, there is a ratio between the painting of a coffee-house with a divine truth or the same examples, that artist also created a virtuous activity based on rational activity.
Aims: This paper intends to determine the divine truth of the artwork based on Ananda Coomaraswamy’s ideas and to indicate its relation to the coffee-house painting, as a traditional art.
Research he research methodology in this paper is of a theoretical and qualitative nature, and the data collection is done based on a documentary study. In this regard, two instances of the coffee-house painting, were randomly selected, and the concept of the divine truth and its relation to the above artworks were explained based on Coomaraswamy’s point of view.
Divine Truth is the same as heavenly source whose memory conjures upof the immortal representative image. Coomaraswamy considers art as the embodiment of a pre-conceived form in material form that, firstly, perceives the stage of liberation (observing the perception of the immortal truth) and then, dedicating a physical body to the idea, seeks for the stage of captivation. Based on Coomaraswamy’s ideas, the coffee-house painting is a manifestation of the Divine Truth and of those images that the artist creates based on his rational activity and also devotional activity. What makes these works authentic is their inner meaning and the truth the artist has expressed in a symbolic and allegorical manner through physical form. A coffee-house painting is not a crafting skill and art but is based on knowledge and rules whose source of inspiration, methods, and origins transcend the limits of the individual and independent human mind and the artist is merely a channel of mercy motivated by the spiritual universe.

Iranian religious art has avoided any figurative representation following the expression of the exalted order. The religious topics and otherworldly affairs were restricted due to the necessity of the figurative representations and narrative atmosphere. Despite the frequent emphasis of Quran and Hadith in this field, the art of Iran is devoid of any visualization of otherworldly affairs - except rare cases relating to the prophet's visit to heaven and hell in the manuscripts of “Books of Ascension” (Mirajnama) - the culmination of this field is related to the folk art in the Qajar era. The studies show that the Islamic art has avoided the representation of otherworldly themes due to its viewpoint; yet, since the Qajar era, the large scale representation of these themes is observed independently and for the first time. This was made possible when the class of the artist and customer changed; in reality, the folk artist drew the figurative representation of otherworldly affairs according to the worldview of his class. The aim of this research is the figurative representations of otherworldly themes in the art of Iran to study one of the most crucial absent religious themes in the art of Iran. Two questions have been addressed in this article: 1. How did the works in regard to the otherworldly themes advanced in the Islamic art of Iran? 2. What characteristics does the representation of the otherworldly themes have in the Qajar era and what are its differences with the previous period? The research method is descriptive-analytical, based on library sources. In the Qajar folk art three categories of the Coffee House painting, holy shrines painting and Under Glass Painting have been studied, in which we encounter a new world in regard to the representation of otherworldly themes in various scales and extent; this art reflected the ideology exclusive to the common class in Iran for the first time, which is ardent religious beliefs and pious faiths.

In folk beliefs and literature of Iranian people, name and emblem of lion is more or less connected with Qalandar Dervishes and Futuwwa cult. The lion tattooed on the skin has been favorite for members of traditional gymnasiums (Zurkhaneh) that in fact, were military branch members of Futuwwa cult (named ‘Seyfi’; attributed to sword). Emblem of lion has been associated with the name of Imam Ali (peace upon him), the first Shiit Imam, and the legendary inventor of the most dynasties of Futuwwa in Islamic middle ages. Futuwwa was a kind of sufi chivalry in Islamic countries, and people linked to the cult were mostly of lower social class. In that era, most of craftsmen and artisans were attached to a guild, and ceremony of arriving to a guild was similar to ceremony of arriving to a Futuwwa circle. In addition, some specific chivalry circles of artisans were existed in different social classes; in royal libraries, in team houses of Qalandars (Khaneghah), or even in Gymnasiums. In post-Mughal Iran and India, some of these groups had a lot of experience on showing and training lion. This study is trying to discover and analyze the historical connection between some groups of lion trainers and some specific Persian miniatures; the miniatures that display subjects like “lion in chain”, “Qalandar and lion” and “lion attack”. These painterly works have been repeatedly reproduced in some limited visual forms, and accepted by the people that were deeply attached to the cult or were owned by that. They reflect the world vision of some groups of Futuwwa and Qalandarieh, and at the same time, support and confirm their world vision. “World vision” as a kind of “group consciousness” is the imaginary idealized world of a group of people that its members are in same economic and social conditions. Hidden world vision in these paintings is the same world vision of some circles of Qalandars and Fettian (plural of Fata; means chivalrous), But process of creating these artistic works is aligned with the process of creating in Futuwwa guilds. Certainly, along with this kind of Structural Sociologic approach to the issue, Idealistic and Mystic approaches could be valid too. A scientific approach must answer the question that how a social form transform to a mystic form. This is the question that is not generally answered in idealistic approaches, but this sociological approach responds to the question. In some coffeehouse paintings, the lion lying down in front of Imam Ali’s feet, is the same favorite lion of Luti showmen and Qalandar lion trainers, and is associated with the “lion of god” or “Shir-e Khoda” Imam Ali. Perhaps by contemplation on these pictures, members of the cults found their ideal imaginary world; the pictures that were a kind of social support for the groups attached to Futuwwa and qalandarieh

Coffee house painting that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These paintings are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the paintings as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee house painting that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnal regime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were painting their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop painting; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee house painting according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee house style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

Despite the Islamic texts, which are rich in material on the resurrection and mention it specific in a few Sura of the Qur’an, but there is no trace of illustrating this, event in the Islamic art of the Qajar period, in fact, representations of resurrection was inspired from Christian art that has been rich in Representation of this subject. The origin of this inspiration are traced back to the Safavid period, that is The impact of the international relations and presence of merchants, and Christian tourists and specially the immigration of Armenian to Iran. But the climax of this impact on religious art and figurative and Iconic representations in large scale and diversity was in the Qajar period, So that the embodiment of Doomsday Scene was Belonging to this period But in this course there was only two paintings that depicting the Resurrection and their belonging to an artist by the name of Mohammad Moddaber. While Christian art that has been rich in Representation of this subject,The works of Mohammad Modaber were inspired from Byzantine art specially Russia that has been in more contact with Iran than other foreign countries. In this article we study the Source of influence and compare the artworks of Doomsday from a Byzantine art of Russia with the Doomsday (judgement day) painting from Mohammad Modabber.