The manifestation of the environment on the formation of the art of painting by the pioneers of painting in Hamedan

After literature, Hamedani artists have adored visual arts more than any other realms of art. This very article strives to consider and classify the latent currents among Hamedan first generation painters. In other words, it endeavors to introduce, categorize and analyze the available flows from artists’ artworks from the beginning of painting creation on canvas and cloth for Hamedan artists-painters born (Hijri Shamsi 1280-1330). But what is very evident is the effect of nature on the works of painters of Hamadan. Often, the artist takes refuge in nature to understand himself and the connection between feeling and imagination. Because art somehow adheres to an understanding of the world that takes humanity away from all its functions at the level of society for a moment to reach a place of imagination and pure feeling with a special sensitivity. Man can achieve an understanding and transformation of nature in this place of imagination and direct feelingThe article data collection method has been of field collection method, observation method, Interview and library collection method. The works analysis method has been done through descriptive method, and their critique based on form analysis, and stylistics of some of artists’ works through comparative content analysis. The data have been formulized through interviewing and the resources of their interviews in the newspapers, and the artistic works have been taken photo of and analyzed by the article author. The research findings show that almost five parallel flows have been loomed in painting art within Hamedan first generation painters. In regard with the analysis of the works of the pioneers of the painting of Hamedan, some parameters have been put into consideration and have been paid attention to from two perspectives of form and content as following: the subject matter of the work, taking notice of objectivity, the role of the observer, the sort of composition, and formalistic features and techniques in Kamalolmolk school painters, naturalist painters, miniature and national art, religious painters and coffee house, modernist painters. Although the artistic works which have been remained or the cultural history of Hamedan minimally has not been taken notice of sufficiently to be considered verbally and persistently in light of visual arts, from the works of the contemporary artists and thinkers of the city, one can discern the impression of this history on the art and culture of this city palpable and considerable.