نشریه هنرهای زیبا - هنرهای تجسمی
سال هفدهم شماره 1 (پیاپی 49، بهار 1391)

Intellectual developments, political movements and cultural policies of government during the Pahlavi era, played a significant role in formation and developing of important tendencies of Iranian modern painting. The present article, based on the analytic approaches, investigates the influence of the leftist, nationalistic and Islamist movements on art, and simultaneously studies the role of governmental interests in artistic movements. These social tendencies as the dominated paradigms of social institutes, especially political and cultural institutes, from 1932 to 1979, had great influences on Iranian modern painting. These Influences in different periods and situations, from the beginning to the end of the Pahlavi era, dependent on the special position of governmental artistic strategies and their interaction with intellectual and cultural attitudes of Iranian elites, and also regarding the pressure of modernity, caused different shapes of modern artistic trends in theory and practise, from leftist and social theories of art to the local and national tendencies. During the Pahlavi era the modernization program gathered momentum and the social structure of Iran changed quite radically. After the 1953 coup, in an attempt to show that it was going to be modernized in all social aspects, the government aimed to present a state of the art and modern look in artistic fields. In the 1960s and 1970s drastic governmental measures were taken towards modernization with emphasis on nationalism. Simultaneously a great number of painters tended to use certain elements of common culture and the traditional art of Iran and synthesize them in a modern artistic expression. Nationalistic and “orientalistic” interpretation of these tendencies and trends led to an artistic movement called “Saqqa- khaneh”. Another important characteristic of the 1960 and 1970 decade was the development of some theories emphasizing Islamic-Iranian identity and criticizing the loss of Iranian cultural identity through the adoption of western culture named “westoxification” (West-struck-ness). This increased the artistic tendencies towards the common and past culture of Iran. On the other hand emphasizing the relationship between art and the local populace became one of the important subject-matters in the intellectual and cultural society. In the last years of the Pahlavi era there was widespread criticism against the cultural situation of the Iranian society from many intellectuals with different tendencies; however, the spiritual and religious interpretation of Iranian culture emphasizing Shiite principles of belief was the major trend. After the collapse of the Pahlavi government any institute related to modern art and culture was regarded as an anti religion and westernized phenomenon and its activity was halted for some years. Despite the other researches about Iranian modern painting, which they usually emphasise the inter textual developments based on the modern tendencies of painters in the contrary with the traditional approaches and the naturalistic style of “Kamal ol Molk’s School”, this article lays special emphasis on the outer factors and analyzes the impact of the social changes such as political and intellectual developments on the general movements of the Iranian modern painting which had especially a nationalistic tendency.

The Ottoman government in second half of 15th century, following the conquest of Constantinople and the establishment of Ottoman empire center in Istanbul, to promote their level of art and culture in Topkapi-Saray, were adopted from Iran that was a pioneer in all fields of literature and science. They took advantages of unrests and political turmoils of Iran in the end of 15th and begining of 16th century. Invitation of the Iranian elites, ongoing attacks and plundering Iran's most important centers and forcing some Iranian artists to migrate to Istanbul, all have been effective to promote of cultural and artistic level in Istanbul. Subsequently, end of 15th century, the first Ottoman art workshops were established in Topkapi-Saray. At the beginning of the 16 century, the Harat workshop of Persian miniaturists was closed and its famous artists went to Tabriz. After the Ottoman emperor Sultan Selim briefly conquered Tabriz in 1514, taking many manuscripts from Harat-School and Tabriz-School back to Istanbul, to the Academy of Painting was founded in Topkapi-Saray for imported Persian artists. In this period, Ottoman court was totally dependent on flows of Iranian art. like Persian Miniature Schools, most attention was on the visualization of literary manuscripts. The activities of Iranian artists and their supervision of book illustration in Topkapi-Saray Art Workshops, caused transferring and expanding many of Persian art features in the new Ottoman Painting School. This research foundation, has been laid on the proof of the hypothesis, that Iranian Art in the first half of 16th century, has remained a significant effect on Ottoman Painting. For the purpose, studies were divided into two general sections: 1) Identify the factors influencing, 2) Comparative studies. The first section, is review and identify the various factors that have an important role in the transfer of artistic achievements of Iran to Ottoman. The factors such as the impact of Persian literature and culture on Anatolian from the age of Anatolian Seljuks, the trophies of war that led to the transfer of precious Iranian art works and artists to Istanbul and their activities in Topkapi-Saray Art-Workshops and the Immigration and asylum, some Iranian officials to the Ottoman court, who often had valuable libraries and outstanding artists, are the most important factors of all. The second part of this paper, deals to comparative study between the Persian & Ottoman Paintings, in first half of the 16 Century. To achieve acceptable results, several Ottoman illustrated manuscripts that has undoubtedly modeled of exquisite Persian illustrated books are introduced. To prove this adoptions and show structural similarity, examples of Ottoman and Persian miniatures were replaced together. Comparative study between two Persian and Ottoman paintings, in first half of 16th Century, shows the obvious similarities between two groups. The survey results are indicative of the fact that the Persian illustrated manuscripts as a template have been used in Istanbul Art Workshops. Istanbul-School, had taken some specifications of aesthetic achievements of Iran, but has not succeeded in all attributes of structural and aesthetic features of Persian Painting.

The form of dragon has been appeared during the history of Iran art in different formats whit mysterious contents. In fact, it is the only mythical character that is in collection with the rest ancient earthly animals. Dragon with its scaly serpent, like body, is also one of the twelve zodiac signs in the world. In most of the old pictures, figures or written texts, they are explained with a body like snakes, with wings and mouths like bets and sometimes with a horn as imaginary beasts. Their tails are at back of the body and their legs and arms are at the middle and cause movement. As it had been cleared according to different previous articles and papers, dragons are very huge odd animals with two or sometimes more wings, four legs and hands that can fly and exhaust fire out from their mouth. Although this ancient and imaginary animal in most cultures is to some extent the same but they have and make different inference and meaning. For example, Chinese or Lung Dragons symbolize power and excellence, valiancy, boldness, heroism and perseverance, nobility and divinity. Dragon is energetic, decisive, optimistic, intelligent and ambitious The connection of this role to culture, believe, and ancient in one hand and Persian rich literature in the other hand, significant its role more than previous time. Persia is the greatest center of design and art in Asia. It has its strong tradition. Mutual influences, from time to time, have provided useful stimulus towards fresh achievements in this country. The firs image of Dragon has seen on jade and bronze objects of the Neolithic period and Bronze Age. Over the course of history we find that the dragon has served as a famous and well known theme in various forms of art. It is clear that Iranian painters according to ancient stories and available literal sources especially in Ferdousi Abolghaseme,s Shahnameh, for displaying this animal have used a beautiful and an especial grammar. The beautiful and sigh-seeing pictures and composition of this animal in Shahnameh in a very acceptable plan have helped other painters and artists to achieve the shape of this imaginary animal. But, it should not be ever forget that painters in different places and position, that they need to go over these descriptions, use another features and explanations in addition to Ferdosi’s descriptions in shahnameh. In most of the cultures Dragon has a symbolic concept. Surely, this fictional animal during the history has been changed and the usage of its meaning has been changed too. So this study tries to investigate the views and expressive – visual structures of dragons in a descriptive and analytical way. In addition, as spoke previously about the developing and changing of these shapes and pictures during time, this article tries to study Ferdosies’ visual description of this animal in Shahnameh and then compares these description with painted dragons in Safavid painting. The paper by comparing and adapting of used contraption shapes of dragon with previous ones, has cleared new contents. That is, this study tries to investigate the size and situation of dragon in frames, Decoration, the kind of texture, used colors and dragons face for clearing its impact on evil and concupiscence.

Historic resources of Iranian art history are a few and their precedence also isn’t very impressive. Precedence of versions which have paid to the artist’s works and biographies especially painters don’t exceed from five hundred years. Whereas this ancient land has works that their precedence dating back thousands of years. Ghazi Ahmad Monshi Ghomi is the writer of the book, Golestane Honar. His father, famous to Mir Monshi. He was born on 935 A.H. He had governmental posts in Shah Esmaeel and Shah Mohammad Khodabandeh era and Shah Abbas was unkindness to him from 1007 A.H and his final life is not clear. Ghazi Ahmad has much authorship. Golestane Honar was finished about 1000 A.H. The only printed version of Golestane Honar which is now available has one introduction and four chapter and 150 pages. The major part of the book is related to calligraphists and art of calligraphy. The writer has assigned some parts of final chapter to painters and painting. Mustafa Kamal Afandi is the author of the book, Managhebe Honarvaran. He was born on 948 A.H in Kliboli. He studied jurisprudence and exegesis when he was young. He had a talent for poetry and “Alee” was his pseudonym. He was delegated writing post on 968 A.H by order of Salim Osmani prince (Salim Sani).He was dead in Jaddeh on 1008 A.H. He wrote Managhebe Honarvaran on 995 A.H and the only translated and printed version of this book which is now available has one introduction and five chapter and 70 pages. The first four chapters are assigned to calligraphists and some parts of final chapter are assigned to painters. Now, in spite of the fact that in any reason written sources are limited, therefore we should value existing versions and attempt to operate them and from this perspective clarify art history as much as possible. One way of using these resources are comparative studies. All researchers who in the present century have had compiling in the field of Iran’s visual arts have enjoyed from two historic book such as “Golestane Honar” whitened by Ghazi Ahmad Mir Munshi Ghomi and ‘’ Managhebe Honarvaran” whitened by Mustafa Ali Afandi that have compiled in close time and necessarily have had many references to them. One of these two important versions has been written in Iran and another in Ottoman territory. The present paper tries after introducing the books and their authors to compare their features and in part of the paintings and painters will examine the common aspects and their differences and after identifying differences eliminate and analyze some of them. To facilitate comparison, information of two books about artist has been arranged in separate tables so that similarities and differences of traditions become clear. With attention to this subject that some of information in each book is supplementary for awareness of another book, inevitably from their comparison get result new findings can be used in future research. For example, we can know the artist who Ali Afandi introduces him “Mir Naghash Esfehani” is same “Agha Mirak”.

According Adhar Bigdili, Muhammad Ali was son of Abdal Biq Naqqashbashi (Painter Laureate) and grandson of Aliquli Biq Jabadar, court Painter of Shah Safi and Shah Abbas II Safawi. Adhar Bigdili credited Muhammad Ali with Naqqashbashi of Shah Tahmasp II Safawi and Nadir Shah Afshar. Having Learnt the art of Painting from his father, Muhamma Ali in turn trained Ali Ashraf, who worked under patronaige of Nadir Shah Afshar and his secretary and historian Mirza Mahdi Khan Astarabadi. Ali Ashraf known for a large number of painted and lacquered bookbindings, penboxes, and mirrorcases and worked in a small style. His dept to his teacher can be seen in his signature «ze bad Muhammad Ali Ashraf ast», which can be read as either Ali [The Prophet's son-in-law] is the noblest after Muhammad [The Prophet], or Ali Ashraf is a follower of Muhammad [Muhammad Ali]. Muhammad Ali traveled in Mzandaran and died there in 1172 (or 1169). Muhammad Baqir, The Painter, according to his signature, was son of Muhammad Ali and Pupil of Ali Ashraf. He is known for decorations in the Margins of manuscrips and copies of European prints and 17th-century painting and wash drawings. Muhammad Baqir said to have continued to work under Qajar ruler Fath Ali Shah. Muhammad Baqir, according to his signature, had a son known as Muhammad Hasan, who was Lacuered Painter in Isfahan and had there Karkhanah (workshop). According to a source, Muhammad Hasan was uncle of Safiyah Sultan daughter of Najaf Ali, court Painter of Qajar dynasty. Thus Najaf Ali was brother of Muhammad Hasan, or in other word, He was son of Muhammad Baqir and grandson of Muhammad Ali Naqqashbashi. So, the family of Muhammad Ali distinguished family of artist from Safawid to Qajar period. Muhammad Ali was noted painter of Safawid and Afsharid dynasty. He introduced a realistic style based on European painting and Persian Miniature painting and his style was continued by his sons and so on. Muhammad Ali's watercolours and painting including portraits of Nadir Shah and Mirza Mahdi Khan Astarabadi and historical figures. Attemped have been made to connect Muhammad Ali with painting in the Tarikh-i Jahan Goshay-i Nadiri composed by Mirza Mahdi Khan. This manuscript prepared for Mirza Mahdi Khan. This manuscript has fourteen paintings which ascribed all of the Paintings to Muhammad Ali. These Paintings include: 1-Battle of Nadir with Ashraf Afghan in Mihmandust. 2- Battle of Nadir with Afghans in Murchekhort. 3- Battle of Nadir with Ashraf Afghan in Zargan. 4- wedding day of Riza Quli Mirza in Mashhad. 5- captured of Heart by Nadir. 6- Battle of Nadir with Ottomans. 7- Battle of Nadir with Abudullah Pasha. 8- coronation of Nadir in Dasht-I Mughan. 9- siege of Qandhar. 10- Battle of Karnal. 11- Iranians in Palace of Muhammad Shah Gurkani. 12- Nadir in Court of Muhammad Shah. 13- captured of Khawrizm by Nadir; and so on. Some of Muhammad Ali`s Paintings are in albums of Gulistan Palace in Tehran. Muhammad Ali in his style combines westernization techniques such as perspective with typical techniques of Persian book illustration. This Article surveys life and achievements of Muhammad Ali Naqqashbashi.

Art critics have recognized some characteristics in contemporary sculptors that are basically postmodern. Characteristics such as pluralism have been to reflect infinite variation in nationalities and cultures, realism especially social realities, the molding of the human body as a way to approach reality, displaying sculpturs in natural & public environment and apart from Museums & art galleries to reach the audience, and effective experssion and perception of the sculpture. These characteristics have contributed a lot in exprssing and producing social, poletical & cultural, concepts,and etc. One such sculptor that used these characteristics to created his works is George Segal. How ever Segal was considered to be a founder of the Pop Art movement in the early sixties, but his individual approach quickly distinguished him from the friends and colleagues with whom he exhibited. Far removed from the wit and sophisticated detachment of their art, the subject Segal deals with is the human condition, its solitude and fragility, which he expresses with a strongly felt sympathy. For those who associate Segal's name solely with life-size white plaster figures, a characteristic that was the diversity of Segal's art from another his contemporary artists. In fact Segal is known for his tableaux of life-sized cast figures. In this process he used medical bandages or began pouring plaster into his casts, then using them as moulds to obtain more detailed figures, which he then usually painted a single bright hue. which technique that Segal altered to this in the mid-1970s helped him that established him self as a pioneer of post modernism movement in sculpture. Segal’s work technique possibly hides much detail in the human figure this ambiguity of the figures features, not to mention the white tone they are painted, indicate no specific race, or racial preferences for that matter. These figures could represent many racial and ethnic backgrounds. Segal’s sculptures, focused on wit and sophisticated attachment, in favor of displaying the human condition.They frozen in stereotypical poses and he installed them in a realistic placed in modern, everyday settings, situations & environment and gave them an "eerily feeling of isolation". His sculptures are simultaneously familiar in their form and subject and haunting in their ghostly stillness. These realistic scence made even more real by the addition of ready-made props evoking the urban decor, Segal's figures, which convey his keen sense of observation, serve as symbols of a humanity that is dominated by social and material contingencies. His works, which juxtapose individuals and their surroundings, emanate an eerie feeling of alienation. In addition to representing the banality of modern life, Segal has created sculptural portraits, depictions of intimate activities like bathing and dressing, as well as overtly political subjects. With this works Segal treats conscience as an inner voice. He takes the urban landscape for a universal symbol of despair. Ironically, he thus tends to put conscience beyond politics and beyond place. This paper investigates, these post modernism characteristics in his works to identify his role and contribution in Postmodernism Contemporary Sculpture.

This research wants to consider the formation process of outline and spotted shapes in prehistoric periods. The light and the various form of its reflection, which appears as a shadow, silhouette and lightfast, and the way of facing human with nature surrounding him, is the theoretical base of this paper. Light is one of the important elements in nature which help human to know and comprehend its surroundings. So studying the affects of light in human life and discovering all its power, could help us to know more about prehistoric humans who were our ancestors and the images which they created. These images are the most important documents which could help us to understand the prehistoric periods and the men created these images, whom are the builders of our historical life. Besides all, considering prehistoric time could help us at first, to know more about our origins, physical characteristics and abilities as a human, and in secondly as a creature of images and painters. Consideration of prehistoric motifs shows that these forms contain symbolic and mysterious concepts besides simplicity. Along with, most evidences shows that images are originated from nature and precisely from conceptions of prehistoric men from nature. One thing that we can see in consideration of prehistoric motifs is the black and even forms which are abstractive and deformed, and we interpret them as the “Silhouettes” which are made from moving light source. This essay with scientific approach and by using empiricists, behaviorist's outlooks and linguistic models is tried to analyze its hypothesis which is the black images remains on the prehistoric rocks. For accomplishing this, our research used descriptive and analytic methods with observational and bibliotheca techniques besides experimental tests to discover the similarity between humans all around the world in making images because of the similarity in comprehension of surroundings. And it wants to prove that the way of prehistoric men illustration was articulate for them and they could communicate and dialogue with each other by their images which were their visual longue. Consequently we could claim that because of the limited knowledge of prehistoric men about their nature in comparison with present human being who have large amount of information and knowledge about his surroundings due to the improvement of technology and communications systems, that way of illustrating was responder to their need of visual dialogue. Because of the improving communication networks which have increased the speed of exchanging information, the artists started to represent something more creative and different from just their conception from nature. So because of all various conceptions, representations and productions, it seems that contemporary man is smarter than prehistoric one. But the fact is just the improvement of technology and knowledge about surrounding make today human different from prehistoric man and in depth both are sapiens who have ability to talk, make tools and communicate with its genre. It means that what we can see in prehistoric paintings is representative of the way that prehistoric men deal with their surroundings.