Relevant bibliographies by topics / Art, Iranian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art, Iranian'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Art, Iranian"

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Hassanzadeh, Fatemeh, and Shima Moallemi. "L’art populaire : un outil d’éveil identitaire chez l’apprenant iranien." Voix Plurielles 10, no. 2 (November 28, 2013): 120–30. http://dx.doi.org/10.26522/vp.v10i2.846.

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Actuellement la vague d’émigration des jeunes Iraniens a provoqué un état conflictuel dans le contexte de l’enseignement et de l’apprentissage du français en Iran. Loin d’arriver à un enrichissement, l’apprenant iranien lors du choc culturel, se trouve dans une position d’acceptation absolue de la culture occidentale ; ce qui mènerait une démarche interculturelle, s’adressant dans sa première phase à l’identité de soi, vers un échec. Cette recherche consiste à voir où se trouve l’origine de cet échec menant à une crise identitaire et comment, à l’aide d’une démarche pratique, l’art populaire dans le cadre du théâtre expérimental pourrait créer un espace d’éveil identitaire implicite chez l’apprenant iranien. Popular art: an identity awaking tool on the part of the Iranian learner Currently the wave of immigration of young Iranians has caused a state of conflict in the context of teaching and learning French in Iran. When the Iranian learners confront the cultural shock, far from becoming a cultural enrichment, they find themselves in a position of absolute acceptance of Western culture, which would lead to an intercultural approach, addressing itself to identity in its first phase, then to a complete failure. This research tries to see the origin of this failure which results in an identity crisis and also to see how the use of popular art in the framework of an experimental theatre could create a space of implicit awakening in the identity of the Iranian language learner.
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Sattari Sarbanqoli, Sina, and Sirus Jamali. "A comparative study of painting and architecture stylistics of contemporary Iranian and western arts." Journal of Art and Architecture Studies 10, no. 2 (December 15, 2021): 31–41. http://dx.doi.org/10.54203/jaas.2021.5.

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Iranian art reflects the spirit and inclinations of Iranians, regardless of place and time of origin. Another point is the diversity of works of art which shows that the ancient Iranians had high skills in different regions. Iranian architecture and painting have always been present side by side and influentially throughout history, and this connection persists until today in contemporary Iranian art. The present article is a research on the features and concepts of architectural and painting styles in contemporary Iranian art and a comparative comparison of these two arts which is centered on the concept of architecture and painting. The contemporary architectural styles and tendencies in question date back to the first and subsequent Pahlavi rule. The general objectives of the research are to apply the styles of painting and architecture in Iranian art to achieve the same conceptualism of these two arts. For this purpose, three main categories have been studied: the first part is contemporary Iranian architecture, the second part is contemporary Iranian painting and the third part is a comparative comparison of contemporary Iranian architectural and painting styles. The present research is an analytical and comparative research and the research method is based on the application of styles and logical reasoning. Documentary and library studies and theories of experts are also the basis of this article.
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Imber, Kirstie. "Contemporary Iranian Art: New Perspectives." Iranian Studies 49, no. 1 (December 15, 2015): 176–80. http://dx.doi.org/10.1080/00210862.2016.1118953.

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Behpoor, Bavand. "Introduction to “The Nightingale's Butcher Manifesto” and “Volume and Environment II”." ARTMargins 3, no. 2 (June 2014): 118–28. http://dx.doi.org/10.1162/artm_a_00084.

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The introductory text introduces two pre-revolution Iranian manifestos of modern art, namely the “Nightingale's Butcher Manifesto” (1951) and “Volume & Environment 2” (1976). It describes the socio-political context in which the texts emerged and compares them as different responses to similar issues separated by a time span of 25 years. It argues that these rare examples of Iranian art manifestos can be regarded as milestones of an entry into and an exit from modernism in Iranian art.
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Al-e Ahmad, Jalal. "To Mohassess, For the Wall." ARTMargins 10, no. 2 (June 2021): 127–36. http://dx.doi.org/10.1162/artm_a_00297.

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Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
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Mirzaei, Mohammadreza. "Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall”." ARTMargins 10, no. 2 (June 2021): 118–26. http://dx.doi.org/10.1162/artm_a_00296.

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Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
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Moussavi-Aghdam, Combiz. "Art History, ‘National Art’ and Iranian Intellectuals in the 1960s." British Journal of Middle Eastern Studies 41, no. 1 (January 2, 2014): 132–50. http://dx.doi.org/10.1080/13530194.2014.878511.

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Mir-Hosseini, Ziba. "Iranian Cinema: Art, Society and the State." Middle East Report, no. 219 (2001): 26. http://dx.doi.org/10.2307/1559252.

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Rafiei, Maryam, and Jamshid Arasteh. "An Approach to the Effects of Modern Art on the Evolution of Iranian Contemporary Typography." Religación. Revista de Ciencias Sociales y Humanidades 5, no. 23 (March 31, 2020): 189–96. http://dx.doi.org/10.46652/rgn.v5i23.617.

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Today, letter design is no longer just a way to convey information, its visual and structural features is not limited to a particular aspect of visual language, in addition, the design of letters is a method that is always influenced by the content and thought, it is placed in different cultural and social conditions and reflected in unlimited aesthetic forms. Situation that occurs with Iranian literature that owes its value to the writings and the words. On the other hand, in the field of art, especially the art of letter design, it is this writing that plays the central role. Almost more than a century ago, new and modern phenomena slowly came to Iran, and Iranian artists began to use modern art. What is gleaned from the research is the introduction of typography as a powerful and usable tool not only in the international community but also as an art of communication on the Iranian border and examining its most important function; visual communication and the transfer of information and content. It is also discovered how the forms of typography evolve and its impact on contemporary Iranian art. The descriptive research work was carried out through the process of reviewing and collecting information from the library documents.
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Naef, Shirin. "Iran. A New Hub for Afghan Artists." Almanach, no. 2 (December 8, 2022): 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.

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Iran hosts one of the largest populations of Afghan migrants and refugees in the world. Though the two countries have always been linked through music, art and culture, Iranian society has for a long time looked upon Afghan migrants as “simple blue-collar workers”. But the rise of new generations of Afghans living and working in Iran is changing Iranians’ views – and shining a spotlight on Afghan poets, writers, cinematographers, and actresses.
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Dissertations / Theses on the topic "Art, Iranian"

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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Sadeghinia, Sara. "Défis de quelques pratiques artistiques contemporaines de la jeune scène iranienne." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30024.

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La culture en général et l’art, en particulier, occupent une position unique dans la structuration d’une société. En dépit des conflits, des convulsions politiques et idéologiques qu’a connu depuis un siècle, l’Iran d’aujourd’hui n’est plus un pays sous le joug politique d’une théocratie obscurantiste. Contrairement aux discours bruyants et actions hostiles de dirigeants islamiques qui provoquent si facilement l’attention du grand public en Occident, l’expression artistique iranienne reste très peu connue du public du monde entier. C’est à partir d’une réalisation plastique personnelle qu’ont été évalués que les véritables représentants et porte-parole d’une société iranienne progressiste ne sont plus ses politiques, mais bien ses artistes. Les artistes iraniens essaient de montrer la voix d’un autre Iran, celle d’un pays à l’histoire plurimillénaire, mais toujours aussi épris de culture et avide de liberté.Très attachées à leur histoire et leur culture, les oeuvres des artistes iraniens s’élaborent entre héritage et innovation. Lesquelles font état d’univers où un langage symbolique, ostensiblement hybride, se construit entre traditions ancestrales et modernité postrévolutionnaire. Par le biais de différents types médiums contemporains, comme la photographie, la performance, l’installation, la vidéo, ces oeuvres témoignent de la recherche d'un geste et d'un langage susceptibles de reconstruire la mosaïque du réel. Le regard des artistes, construit par leurs codes culturels, ne les empêche cependant pas de prendre en considération les actuels problèmes sociaux et politiques. Par contre, les artistes iraniens détournent intelligemment la réalité de façon métaphorique et symbolique pour transmettre le contenu de leur message au monde entier. De cette manière, l’art contemporain iranien, a pu s’épanouir sur la scène internationale et a pu attirer l’attention de quelques collectionneurs du marché de l’art et de commissaires d’exposition internationaux, durant ces dernières décennies
Culture in general and art in particular, occupy a unique position in the structure of society. Despite the conflicts, political and ideological convulsions has been known for a century, Iran today is no longer a country under the political yoke of theocracy obscurantist. Unlike the noisy speech and actions hostile Islamic leaders who so easily cause the attention of the general public in the West, Iranian artistic expression is very little known to the public worldwide. This is from a personal realization plastic what evaluated as true representatives and spokespersons of Iranian society progressive are no longer policies, but its artists. Iranian artists trying to show the voice of another Iran, a country with a history thousands of years, but still as loving culture and eager for freedom. Very attached to their history and culture, the works of Iranian artists to develop between heritage and innovation which indicate universe where a symbolic language, ostensibly hybrid builds between traditions and modernity post-revolutionary. Through different mediums contemporaries, such as photography, performance, installation, video, these works reflect the research gesture and language may reconstruct the mosaic of reality. The regard of artists, built by their cultural codes, however, does not prevent to consider the current social and political problems. By against, Iranian artists intelligently divert the reality of metaphorical and symbolic way to transmit the content of their message to the world. In this way, Iranian contemporary art, has been able to flourish on the international scene and has attracted the attention of some collector’s art market and international exhibition curators, in recent decades
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Shojai, Kaveh Darya <1995&gt. "Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.

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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Yarmohammad, Touski Golnar. "Odes to Incongruity: Iranian Contemporary Art in Diaspora." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.

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Kadoi, Yuka. "Aspects of Iranian art under the Mongols : Chinoiserie reappraised." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24748.

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This thesis aims to shed new light on some aspects of Iranian art under the Mongols, reviewing problems of Chinese elements in Iranian art. In considering the stylistic and technical development of Iranian art, ‘the Chinese element’ is an inevitable issue. Any history of Iranian art under the aegis of the Mongols must include some accounts of the occurrence of these elements. Though Iran was affected by internal factors in earlier periods, it is indubitable that it experienced a shift in its aesthetic balance on a grand scale during the late thirteenth and early fourteenth centuries, as a result of the fruitful exchange of artistic ideas with China and, more broadly, East Asia. Despite a wide acknowledgment of the role of China in the evolution of Iranian art traditions in the late thirteenth to early fourteenth century, chinoiserie in Iranian art under the Mongols remains one of intangible matters in the study of the whole Iranian art; evidence for this unusual artistic phenomenon has thus hitherto not been treated at length in a single study. In order to provide a more fruitful approach to this subject, the discussion in this thesis spans almost all possible types of pictorial and decorative arts produced in Iran under the Mongols, ranging from often discussed paintings to hitherto unexamined decorative objects. Central to all subsequent discussion is the desire to synthesize old and new finds and to address in detail the hitherto ill-defined relationship between Iranian and Chinese art. Above all, the thesis aims to construct a proper art-historical framework for Sino-Iranian art studies in the Mongol period.
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Khazaie, Mohammad. "The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.

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JAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading." Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.

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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.
The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.

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Shobeirinejad, Seyed Abdolhadi. "Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/972/.

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This thesis considers the possible association of Deconstructive thinking with the pictorial practices of traditional Iranian painting. The author‘s intention has been to improve the understanding of the type of compositional device here termed 'broken space‘ for artists who are interested in the traditional Iranian concept of space, by using deconstruction philosophy and its application in architecture. This research compares and contrasts the ideas that inspired Iranian painters and deconstructionist architects in order to explore ways in which they can be integrated. The author realized that the Iranian-Sufi view of the 'world of the imagination‘ and the deconstructive architect‘s concept of 'chora‘ would be the key ideas for producing the 'broken spaces‘ that are so characteristic of both art forms. Interestingly, these two ideas have comparable features that seem to have generated spaces with similar attributes. Nevertheless, the two forms are derived from completely different ambitions: the Iranian concept is metaphysical and the deconstructive chora is post-metaphysical. The practical part of the research established methods for employing deconstructive thinking whilst advancing the Iranian tradition of representing space. The author‘s practices, which were embedded in the techniques of printmaking, reflected the theoretical and philosophical ambition of building links between medieval thinking and a contemporary movement which is still felt to be radically positioned. Finally the thesis compares the author‘s pictorial approach to 'broken forms‘ of architectural spaces developed in this research with those of other contemporary Iranian artists. The advantages of the deconstructive method are outlined and theoretical and practical similarities such as the desire to create dreamlike spaces are evaluated. All things considered, the two forms can be integrated with greater ease than the alternative interactions with Western ideas currently used by the contemporary artists included in this study. The thesis concludes with some suggestions for further research that could help realize this goal.
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Sadeghi, Asal. "De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.

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De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peinture
Many traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting
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Books on the topic "Art, Iranian"

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Zahrā, Rahnavard, and Dānishgāh-i. al-Zahrā, eds. Contemporary Iraninan [i.e. Iranian] art & the Islamic world. [Tehran, Iran]: Al-Zahra University, 2002.

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Mahlodji, Erfan. Hennaria: Traditional Iranian henna art. Stow, Ohio: TapDancing Lizard, 2002.

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W, Ferrier R., ed. The Arts of Persia. New Haven: Yale University Press, 1989.

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T͡Sagaraev, Valeriĭ. Zolotai͡a i͡abloni͡a nartov: Istorii͡a, mifologii͡a, iskusstvo, semantika. Vladikavkaz: Respublikanskoe izdatelʹsko-poligr. predprii͡atie im. V.A. Gassieva, 2000.

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Lukonin, Vladimir Grigorʹevich. Persian art: The lost treasures. New York: Parkstone Press, 2012.

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Sazonova, N. V. Iskusstvo Irana. Moskva: RA "SOREK", 1994.

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Heller, Leila Taghinia-Milani. Selseleh Zelzeleh: Movers & shakers in contemporary Iranian art. New York: Leila Taghinia-Milani Heller Gallery, 2009.

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Iḥsānī, Muḥammad Taqī. Jildʹhā va qalamdānhā-yi Īrānī. Tihrān: Muʾassasah-ʾi Intishārāt-i Amīr Kabīr, 1989.

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Jacobi, Hannah. Stimmen aus Teheran: Interviews zur zeitgenössischen Kunst im Iran. Frankfurt am Main: Edition Faust, 2017.

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Fontana, Maria Vittoria. La leggenda di Bahrām Gūr e Āzāda: Materiale per una storia di una tipologia figurativa dalle origini al XIV secolo. Napoli: Istituto universitario orientale, Dipartimento di studi asiatici, 1986.

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Book chapters on the topic "Art, Iranian"

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Hatami, Elaheh. "Chapter 1. Dance: A Dilemma in Iranian Art." In TanzScripte, 23–44. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460801-003.

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Moussavi-Aghdam, Combiz. "“Iranian Modernism” and the Idea of Indigenous Art." In New Histories of Art in the Global Postwar Era, 127–37. Names: Frigeri, Flavia, editor. | Handberg, Kristian, editor. Title: New histories of art in the global postwar era: multiple modernisms / Flavia Frigeri and Kristian Handberg. Description: New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-12.

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Fitzpatrick, Andrea. "Veiled Iranian Identities in the Photographic Art of Sadegh Tirafkan." In Der Mann in der Krise?, 182–98. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218805-010.

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Ovla, Arman. "Myth and Mythology Related to Water in Indian and Iranian Culture." In Art and Architectural Traditions of India and Iran, 85–99. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-8.

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Kanda, Yui. "Iranian Blue-and-White Ceramic Vessels and Tombstones Inscribed with Persian Verses, C. 1450–1725." In The Routledge Companion to Global Renaissance Art, 363–77. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003294986-30.

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Koo, Gi Yeon. "The Choice for the “Zendegie Normal (Normal Life)”: Changes Among Iranian Young Immigrants." In Gulf Studies, 249–67. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_15.

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AbstractUp to a few years ago, reasons of Iranians’ migration and immigration were personal development, free life, better educational environment, and social welfare among others. However, the situation appears dire as it is circulated on social media that today’s Iranian youth migrate overseas for “air to breathe, basic living, and COVID-19 vaccination for survival”—it is their choice for a “normal life”. Iranian dream of breaking away from the day-to-day politics of surveillance and escaping to foreign countries are like virtual worlds in their reality. This chapter seeks to examine the Iranian’s forms of migration and the social context.
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Hakim, Sakina. "Mapping the Overlap between the Culture of Iranian “Turquoise and Emerald” with Indian “Saffron and Vermillion”." In Art and Architectural Traditions of India and Iran, 32–46. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-4.

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Moridi, Mohammad Reza. "Art in Contact Zone in the UAE and Qatar: Trans-Regional Cultural Policy and Rise of New Artistic Movements." In Gulf Studies, 319–31. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_19.

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AbstractDubai and Doha are attempting to be known as transcultural places. These cities are trying to be in a status that Mary Louise Pratt has named “contact zone”. Mary Louise Pratt as a postcolonial theorist tries to use “contact zone” concept to explain transcultural situation in which diverse social spaces merge together. But how can Dubai and Doha become transcultural zones? What are the cultural policies to build a trans-regional identity? How have these policies affected artistic trends and artistic experiences? This chapter addresses how trans-regional cultural policies have made Dubai and Doha to welcome marginal arts, hybrid arts and multicultural arts. This chapter shows how Iranian and Arab artists have played a complex and multi-layered role in shaping the contact zone.
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Zhang, Hanmo. "Searching for the Origin of an Art Motif: The Tree as a Universal Separating Device in Early Indian, Iranian, Etruscan, and Chinese Art." In Silk Road Research Series, 121–75. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7602-7_8.

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Erfani, Farhang. "“What Are Filmmakers for in Needy Times?”." In Iranian Cinema and Philosophy, 39–67. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012920_3.

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Conference papers on the topic "Art, Iranian"

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Beizaeijouybari, B., and B. S. Gungor. "The effect of Islam on the design of Iranian gardens." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/iha160091.

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Vertiienko, H. V. "IMAGE OF ROOSTER IN THE ART OF SCYTHIA: IRANIAN CONTEXT." In ХХV СХОДОЗНАВЧІ ЧИТАННЯ А. КРИМСЬКОГО. Liha-Pres, 2022. http://dx.doi.org/10.36059/978-966-397-283-1-71.

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"Saqqa-Khaneh School as Iranian Contemporary Art Movement: Post Colonialism or Orientalism?" In April 18-19, 2017 Kyoto (Japan). DiRPUB, 2017. http://dx.doi.org/10.15242/dirpub.dirh0417049.

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Heidarpour, Mostafa, and Seyed Mojtaba Hoseini. "Generating art tile patterns using genetic algorithm." In 2015 4th Iranian Joint Congress on Fuzzy and Intelligent Systems (CFIS). IEEE, 2015. http://dx.doi.org/10.1109/cfis.2015.7391652.

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Абеди, М., and Н. Ю. Митрофанова. "IRANIAN GARDEN CARPET AS A SYMBOL OF HEAVEN." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.01.

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Иранские сады, известные как Чахарбаг, являются символом рая. Садовый дискурс развился и процветал в период Сефевидов (1501–1736 гг.) и оказал значительное влияние на многие виды искусства, включая ковроткачество. К этому же времени относят появление особого типа садового ковра под названием «чахарбаг». Иранские ковры стали своеобразной гетеротопией иранского сада. Они не только повторяют ландшафтную структуру, но и отражают важные концептуальные аспекты иранского садового искусства. Iranian gardens, known as Chaharbagh, are symbols of paradise. Garden discourse developed and flourished during the Safavid period (1501–1736) and had a significant influence on many arts, including carpet weaving. The appearance of a special type of garden carpet called Chaharbagh dates back to this time. Iranian carpets have become a kind of heterotopia of the Iranian garden. They not only follow the landscape structure, but also reflect important conceptual aspects of Iranian garden art.
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Nikoofekr, I., M. Sarlak, and S. M. Shahrtash. "Detection and classification of high impedance faults in power distribution networks using ART neural networks." In 2013 21st Iranian Conference on Electrical Engineering (ICEE). IEEE, 2013. http://dx.doi.org/10.1109/iraniancee.2013.6599760.

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Asasian Kolur, Mehdi. "Possibilistic Art (PoArt), an Approach based on Mind Geometry for Digital Media." In 2019 5th Iranian Conference on Signal Processing and Intelligent Systems (ICSPIS). IEEE, 2019. http://dx.doi.org/10.1109/icspis48872.2019.9066151.

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Ghafoori, Mohammadreza, Mohammad Roostaeian, and Valiahmad Sajjadian. "A State-of-the-Art Permeability Modeling Using Fuzzy Logic in a Heterogeneous Carbonate: An Iranian Carbonate Reservoir Case Study." In International Petroleum Technology Conference. International Petroleum Technology Conference, 2008. http://dx.doi.org/10.2523/12019-ms.

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Ghafoori, M. R., M. Roostaeian, and V. A. Sajjadian. "A State-of-the-Art Permeability Modeling Using Fuzzy Logic in a Heterogeneous Carbonate (An Iranian Carbonate Reservoir Case Study)." In IPTC 2008: International Petroleum Technology Conference. European Association of Geoscientists & Engineers, 2008. http://dx.doi.org/10.3997/2214-4609-pdb.148.iptc12019.

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Ghafoori, Mohammadreza, Mohammad Roostaeian, and Valiahmad Sajjadian. "A State-of-the-Art Permeability Modeling Using Fuzzy Logic in a Heterogeneous Carbonate (An Iranian Carbonate Reservoir Case Study)." In International Petroleum Technology Conference. Society of Petroleum Engineers, 2008. http://dx.doi.org/10.2523/iptc-12019-ms.

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Reports on the topic "Art, Iranian"

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Afkhami, Shirin, and Máté Szalai. Evaluating the current state of the Saudi-Iranian reconciliation. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.74.

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The article aims at assessing the current state of Saudi-Iranian relations and the reconciliation process taking place between the two Middle Eastern countries since 2021 by overviewing the main factors both on the domestic and international levels which can serve as either incentives for cooperation or obstacles. In the domestic realm, economic considerations are the primary drivers for both governments to get closer to each other. Regionally, the Yemeni conflict, Lebanese domestic politics, as well as the Iranian nuclear question are the most important issues affecting the process. In themselves, these factors are not enough to directly lead to a break-through in negotiations, which is why the reconciliation between Iran and Saudi Arabia continues to be unstable and uneven.
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Bulent, Kenes. Jobbik: A Turanist Trojan Horse in Europe? European Center for Populism Studies (ECPS), August 2020. http://dx.doi.org/10.55271/op0002.

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Defined as Turanist, Eurasianist, pro-Russian, pro-Iranian, anti-immigrant but pro-Islam, racist, antisemitic, anti-Roma, Hungarist, and radically populist, Jobbik do not exist in a vacuum. The rise of Jobbik from deep nationalist, antisemitic, and anti-Roma currents in Hungarian politics dates back to the late 1980s and early 1990s. Despite its extensive efforts at “image refurbishment” in recent years, Jobbik remains a populist, revisionist, racist, radical right-wing party that threatens to destabilize Hungary, the neighboring region, and the EU.
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Lylo, Taras. Російсько-українська війна в інтерпретаціях іранського видання «The Tehran Times»: основні ідеологеми та маніпулятивні прийоми. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11730.

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The article analyzes the main ideologemes in the Iranian English-language newspaper The Tehran Times about the Russian-Ukrainian war. Particular attention is paid to such ideologemes as “NATO-created Ukraine war”, “Western racism”, “an average European is a victim of the US policy”. The author claims that the newspaper is a repeater of anti-Ukrainian ideologemes by the Russian propaganda, including such as “coup d’état in Ukraine”, “denazification”, “special military operation”, “conflict in Ukraine”, “genocide in Donbas”, but retranslates them in a specific way: the journalists of The Tehran Times do not often use such ideologemes, but mainly ensure their functioning in the newspaper due to the biased selection of external authors (mainly from the USA), who are carriers of the cognitive curvature. The object of the research is also the manipulative techniques of the newspaper (the appeal to “common sense”, simplification of a complex problem, etc.). Methods of modeling the image of the enemy are also studied (first of all, such an enemy for the Tehran Times is the USA), among which categoricalness occupies a special place (all features of the opponent are interpreted not only at its own discretion, but indisputably; such and only such perception of the opponent is “the ultimate truth”), stereotypes (stereotypes replace the true knowledge), demonization (the opponent is portrayed as the embodiment of absolute, metaphysical evil) and asynchrony (an astronomer’s view, who sees a star as if it was the same all eternity to this point. The dynamics of history is ignored by propagandist). Keywords: ideologeme, manipulative techniques, Russia, racism, propaganda.
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