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Journal articles on the topic 'Art, Iranian'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ashari, Samira, and Amin Maleka. "Comparative Study of Colored Stained Glass in Gothic Art with Sash-window making (Orosi Sazi) in Qajar Era; Case study of Charter Church and Salaar Saeid Mansion." Eidos 14, no. 19 (June 1, 2022): 35–48. http://dx.doi.org/10.29019/eidos.v14i19.998.

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In Europe, the use of colored stained glass in theconstruction of church windows was common,reaching their peak during the Gothic period. On theother hand, the tendency to use colored glass, calledOrosi (Sash), in Iranian architecture began in theSafavid era and, under the influence of Iranian culture and art, became a genuine art called Girih tiles; this art flourished unprecedentedly during the Qajar era. The present study aimed to identify intercultural links in Qajar era art with elements borrowed from Western culture and by comparing structural techniques, color, patterns, gender, and the impact of conceptual factors such as light tries to identify the possible similarities between the two methods based on matching the study samples of their two outstanding structures (Charter Church and Salaar Saeid Mansion). Since Iran, as a territory that is always at the center of cultural exchanges, asking about the relationship between this trend in Iranian architecture and its roots can be helpful in a better understanding of Iranian art. The present study is a practical-case study and methodologically is a descriptive-analytical study. The data were collectedusing a documentary study (library). Findings haveshown that the tradition of colored stained glass hasexisted more in European lands, and its formation in Iran is more influenced by imported cultural components. It can be claimed that the sash-window making (Orosi Sazi) during the Qajar era is the continuation of the same colored stained glass of Gothic art, although it is natural that cultural...

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12

Sreberny-Mohammadi, Leili. "The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016." Arts 10, no. 2 (May 27, 2021): 35. http://dx.doi.org/10.3390/arts10020035.

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The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers.

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13

Ebrahimzadeh Zagami, Samira, Robab Latifnejad Roudsari, Roksana Janghorban, Seyed Mojtaba Mousavi Bazaz, Maliheh Amirian, and Helen T. Allan. "A Qualitative Study of the Challenges Experienced by Iranian Infertile Couples After Unsuccessful Assisted Reproductive Technologies." International Journal of Women's Health and Reproduction Sciences 7, no. 3 (October 10, 2018): 331–38. http://dx.doi.org/10.15296/ijwhr.2019.55.

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Objectives: Assisted reproductive technologies (ARTs) give hope to some infertile couples; however, in vitro fertilization (IVF) is expensive and not subsidized by the Iranian state. More than 75% of IVF cycles in Iranian couples are unsuccessful. The aim of this study is to describe the challenges experienced by infertile couples after unsuccessful treatment. Materials and Methods: In this descriptive qualitative study, 36 participants including 29 Iranian infertile couples recruited after unsuccessful ART treatments, five infertility treatment team members and 2 relatives of infertile couples were interviewed at an Infertility Center in Northeastern Iran from April 2016 to June 2017. Data were collected using semi-structured, face-to-face interviews. Data analysis was carried out following Sandelowski. Results: Iranian infertile couples’ experiences following failed ART cycles are described. The findings presented here show that Iranian infertile couples experience stressors during treatment cycles and systemic challenges which may be unique to the Iranian cultural context. Conclusions: Iranian infertile couples face particular challenges related to the cultural context in which ARTs are delivered. Further exploration of the effects of culture on the experiences of failed ARTs needs to be considered by infertility clinics in Iran.

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14

Sahlabad, Zeinab, Oksana Kravchenko, and Alina Shuldishova. "Fatima Riza-Zade (Sayyah), a Dostoevsky Scholar." Неизвестный Достоевский 8, no. 4 (December 2021): 130–46. http://dx.doi.org/10.15393/j10.art.2021.5721.

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The article is devoted to the biography of the Soviet-Iranian researcher F. Riza-Zade, also known as F. Sayyah, and her studies of Dostoevsky’s literary heritage. A number of archival materials that reflect the professional and friendly relations of F. Riza-Zade in 1929–1930s have been introduced into scientific circulation. A review of the articles “Dostoevsky and Modern French Literature (On the Influence of Dostoevsky)” and “Dostoevsky in Western Criticism,” as well as the preface to the Persian translation of Dostoevsky’s novel “White Nights”, published in Tehran, has been carried out. It is noted that the researcher’s works have laid the foundations of Soviet and Iranian comparative studies: Dostoevsky’s work was interpreted in the broad context of French literature, German philosophical and aesthetic tradition and Iranian cultural symbols of good and evil. The key methodological principles of F. Riza-Zade are analyzed: the focus on sociological criticism of the Pereverzev school, a cultural and aesthetic approach to the analysis of genre problems, tendency towards self-sufficiency in literary research and rejection of philosophical speculation. The conclusion is made about the importance of the works of F. Riza-Zade in the study and popularization of Dostoevsky’s work and in the fostering of Russian-Iranian cultural ties.

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15

Goodarzparvari, Parnaz, Francisco Carlos Bueno Camejo, and Miguel Molina Alarcon. "From the Caspian sea to Alboran sea; an overview of the personality similarities between Bahman Mohasses and Pablo Picasso." Revista Sonda: Investigación y Docencia en Artes y Letras 10 (December 31, 2021): 187–202. http://dx.doi.org/10.4995/sonda.2021.17828.

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Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and the spiritual similarities between the two are sometimes astonishing. What sets Mohasses apart from many Iranian artists, in addition to his unique technique among Iranian painters, was his dark and bitter look in his works. Although many of Mohasses’ early works are technically close to those of European painters of the 1920s and 1930s, their main origins are in Picasso’s Cubist style. Perhaps for this reason, many Iranian painters and art critics consider Bahman Mohasses to be the most complete Iranian painter by European standards and even know him as the Iranian Picasso.

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Mottahedeh, Negar, and Sara Saljoughi. "Rethinking Gender in Contemporary Iranian Art and Cinema." Iranian Studies 45, no. 4 (July 2012): 499–502. http://dx.doi.org/10.1080/00210862.2012.673828.

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17

Lippard, Chris. "Peripherality and Humor in the Iranian Art Film." Iranian Studies 50, no. 6 (June 29, 2017): 917–44. http://dx.doi.org/10.1080/00210862.2017.1328564.

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18

Ostby, Marie. "Women, Art, and Literature in the Iranian Diaspora." Iranian Studies 53, no. 5-6 (November 27, 2019): 1032–38. http://dx.doi.org/10.1080/00210862.2019.1686278.

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19

Balaghi, Shiva. "A Crooked Path through History: Iranian Exile Art." Social Research: An International Quarterly 91, no. 2 (June 2024): 687–706. http://dx.doi.org/10.1353/sor.2024.a930764.

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ABSTRACT: By tracing the relationship between the work and the world, Iranian exile art reveals alternative perspectives on key historical moments, from the 1953 coup to the current climate crisis. The artists Siah Armajani, Nicky Nodjoumi, Shirin Neshat, Simin Keramati, Arghavan Khosravi, Pouran Jinchi, and Gelare Khoshgozaran emigrated from Iran between 1960 and 2012. Through a range of media—from painting to sculpture, from political posters to film—these artists have developed a distinct visual language to convey their own exilic experience. Mapping this art offers a cartography of exile shaped by the fraught, overlapping histories of Iran and the United States.

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Zelinko, M. S., and E. A. Kartseva. "Street art and public art in the Islamic Republic of Iran." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (March 27, 2023): 200–211. http://dx.doi.org/10.33920/nik-01-2303-02.

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The article is devoted to the review of the visual environment of modern Tehran and other cities of the Islamic Republic of Iran in the context of the diversity of forms of monumental, urban and street art. The definitions of the basic concepts and tactics of the existence of contemporary art in the city, such as street art and public art, are given. Their aesthetic, conceptual components and genealogical prerequisites are revealed with an attempt to further adapt to the Iranian art scene, which can be characterized as young, dynamic, actively developing under the influence of a large number of specific socio-cultural features and external factors. The result of the article was an attempt to classify the diversity of these forms of urban art in Iran through the prism of dynamic intersections with its history, religion, political concepts, as well as world changes in recent decades, modern challenges and phenomena of urban culture, which determined the need for Iran to modernize and adapt a number of Western models for improving the living standards of its citizens, although the country remains closed and isolated from the outside world, and its culture is brightly colored by the desire for self-identification and localization. The article does not claim to be a comprehensive review of Iranian street art, but seeks to identify the most characteristic forms of its representation based on a business trip to Iran by one of the authors of the article.

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21

Irani, Hooshang, Gholam Hossein Gharib, and Hassan Shirvani. "The Nightingale's Butcher Manifesto." ARTMargins 3, no. 2 (June 2014): 129–30. http://dx.doi.org/10.1162/artm_a_00085.

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Perhaps the earliest manifesto in Iranian art, “The Nightingale's Butcher Manifesto” fights for an Iranian avant-garde—an avant-garde based on new modes of abstraction so as to break the chains of both Iran's artistic traditions and the social concerns of figuration.

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22

S., Yatsenko, and Kaverin S. "Archaeological Analogies to the Traditional Costume Elements in the Eastern Hindukush Area." Teoriya i praktika arkheologicheskikh issledovaniy 34, no. 4 (December 2022): 25–47. http://dx.doi.org/10.14258/tpai(2022)34(4).-02.

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The article analyzes 22 details of the costume of Kafirs and partially the Kalasha of Hindukush which have close analogies among related ancient Iranian-speaking peoples of Pre-Islamic time. The Indo-Scythians and Kushans, who created large powers nearby in the 1st c. BC — 1st c. AD, have the most of such analogies. These peoples had an impact on the clothing of the local Indo-Iranians and, probably, participated in their ethnic history. The infl uence of the ancient Iranian peoples, who lived closer to the Hindukush, manifested itself in large costume accessories, as well as in headdresses and hairstyles. It is also easy to explain the presence of similar elements in the “world empire” of the Achaemenids and among such an active people in the early Middle Ages as the Sogdians. However, many details of the costume of the somewhat isolated societies of the highlands with their simple rural life did not find analogies in the ceremonial art for the elite of various Iranian peoples. Collaboration between a cultural anthropologist and an archaeologist seems to be important to solve this problem. New methods of such joint research are proposed.

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Sarmast, Shahriar. "An Interview with Morteza Momayez." Design Issues 21, no. 1 (January 2005): 18–23. http://dx.doi.org/10.1162/0747936053103093.

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Design Issues is pleased to publish this interview with Iranian graphic designer Morteza Momayez recently conducted in Tehran by Shahriar Sarmast. Morteza Momayez, Iran's foremost graphic designer, has been active in the field for more than fifty years. When he began his career in the early 1950s, he designed Iranian newspapers and magazines. In the 1960s, he completed a degree in art at the University of Tehran, and did further studies in Paris. Mr. Momayez is the author of numerous books on graphic design in Farsi, and his work was featured by F.H.K. Henrion in his book Top Graphic Design (1983). Shahriar Sarmast is an art director in Tehran, and currently is Secretary of the Iranian Graphic Designers Society. Mr. Sarmast created the cover for the Summer 2002 (XVIII: 3) of Design Issues.

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Mahmoud, Sadaf Pour, and Hassan Ali Pourmand. "A STUDY ON SIMILE AND PURIFICATION IN THE “PHILOSOPHY OF DECORATION” OF IRANIAN ISLAMIC ART (FROM IBN ARABI’S POINT OF VIEW, WITH EMPHASIS ON TWO BRICKLAYING INSCRIPTIONS FROM THE DOME OF TAJ-AL-MOLK, THE GRAND MOSQUE OF ISFAHAN IN THE SELJUK PERIOD OF THE 5-6TH CENTURY AH)." Russian Journal of Building Construction and Architecture, no. 4(56) (November 16, 2022): 84–109. http://dx.doi.org/10.36622/vstu.2022.56.4.008.

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Statement of the problem. Iranian Islamic art refers to the works of culture and civilization of the Iranian Muslim nation in the Islamic era. It has properties and descriptions, which in its thinking and epistemological nature, have a different language from simile and purification and are associated with a rich philosophy called "decoration" based on spiritual manifestations. According to the type of subject, nature and method, this research is descriptive and analytical. Through documents, libraries and field observations, various data were collected by examining the principles and components of simile and purification with emphasis on Ibn Arabi’s point of view, analyzing how the Muslim artist used and his goals of employing the combination of the two components in the philosophy of decoration, and also recognizing the sacred geometric patterns in Iranian Islamic art (with a sample of studies on two geometric inscriptions from the dome of Taj Al-Molk in Isfahan Grand Mosque). Results. The analysis of the data and the results show that since "decoration" means the refinement and separation of the individual from his/her individuality, and "simile and purification" , as a mystical approach, has led to the formation of a special language in the structure of Iranian art; therefore, in the philosophy of decoration, the mystic artist has used it as a tool to manifest the beauty and perfection of God in forms through the embodiment of unity and expressed his/her immediate and intuitive perception of his/her inner journey without relying on material concepts or purely aesthetic perceptions to manifest the idea of the holy by using symbol and irony in simile and purification. He/she decodes and expresses the most exalted realities of creation and the actual concept of real unity in a mental state, in material and abstract forms, and geometric patterns to be understood by all. His/her art in all its aspects has been based on the monotheism of wisdom and on the emanation issued by the Divine speech. In fact, in his/her art, the Iranian Islamic artist combines the two principles of beauty and spirituality with " simile and purification" in the " philosophy of sacred decoration " and manifests the " sacred art ".

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Piri, Ali, and Mohammad Piri. "The Quintessential Features of Iranian Art in Saljuq Period." Modern Applied Science 10, no. 6 (May 27, 2016): 219. http://dx.doi.org/10.5539/mas.v10n6p219.

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The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.

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Saljoughi, Sara. "A Cinema of Refusal." Feminist Media Histories 3, no. 1 (January 1, 2017): 81–102. http://dx.doi.org/10.1525/fmh.2017.3.1.81.

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Marva Nabili's The Sealed Soil (1977) is one of the few feature films made by a woman in Iran prior to the 1979 Iranian Revolution. This article argues that the film inaugurated the “distanced look” that most scholars attribute to Iranian art cinema made after 1979. Through a reading of the film's thematic and formal articulations of refusal, the essay claims that this work can open new readings of the relationship between aesthetics and politics in Iranian cinema.

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Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.

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Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...

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Kamali, Fattaneh Jalal, and Batool Hassani Sa'di. "Role of Iranian Traditional Needlework in People's Social and Family Life: A Study of Pateh Embroidery in Kerman." Modern Applied Science 11, no. 1 (December 15, 2016): 253. http://dx.doi.org/10.5539/mas.v11n1p253.

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The aim of this study is to investigate the role of Iranian traditional needlework in people's family and social life with an emphasis on the art of Pateh embroidery. In this article, the history of textile industry, the history of clothes, different sewing styles and how they have been influenced by each other, are studied. According to the "History of Iranian Textile Industry", a book written by Mehdi Beheshtipour, textile industry in Iran dates back to 7000 years ago.Tabari book of history states that this industry goes back to 4000 years ago. Excavations in Shoosh show that burlap weaving, silk weaving and embroidery were forms of art at the time of JamsheedPishdadi. Herodotus says that Xerxes wore embroidered clothes. Marco Polo refers to the art of Kerman's Pateh embroidery in his travelogue. Qajar era is called the renaissance of Iranian needlework. Different styles of needlework have been investigated in previous practical studies with reference to the regionswhere they are common and how they are used. Pateh embroidery is considered as a traditional art in Kerman. This form of needlework has been paid attention to since 1906 from economic, social and cultural perspectives and studied as a profession that can meet people's financial and aesthetic needs.

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Keshmirshekan, Hamid. "Contemporary Iranian Art: The Emergence of New Artistic Discourses1." Iranian Studies 40, no. 3 (June 2007): 335–66. http://dx.doi.org/10.1080/00210860701390448.

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Nakjavani, Erik. "Amidst Shadow and Light: Contemporary Iranian Art and Artists." Iranian Studies 45, no. 6 (November 2012): 831–37. http://dx.doi.org/10.1080/00210862.2012.726878.

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Pouya, Sima, Öner Demirel, Banu Çiçek Kurdoğlu, and Sahar Pouya. "An Examination of Tabriz Gardens in Iranian Garden Art." Landscape Research 40, no. 2 (October 3, 2013): 247–60. http://dx.doi.org/10.1080/01426397.2013.809059.

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Keshmirshekan, Hamid. "DISCOURSES ON POSTREVOLUTIONARY IRANIAN ART: NEOTRADITIONALISM DURING THE 1990S." Muqarnas Online 23, no. 1 (January 1, 2006): 131–57. http://dx.doi.org/10.1163/22118993-90000098.

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Keshmirshekan, Hamid. "Discourses on Postrevolutionary Iranian Art: Neotraditionalism during the 1990s." Muqarnas Online 23, no. 1 (March 22, 2006): 131–57. http://dx.doi.org/10.1163/22118993_02301007.

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Vertiienko, H. V. "«ABOVE THE HORNS IS THE POWER OF PERFECT APPEARANCE» (to the Image of Deer in Scythian Art)." Archaeology and Early History of Ukraine 27, no. 2 (June 22, 2018): 418–26. http://dx.doi.org/10.37445/adiu.2018.02.31.

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The article deals with the problem of depicting hypertrophied horns of deer in the works of Scythian art through the prism of Iranian representations of visualization of the military category of ama-power inherent in the Ancient Iranian military deity Verethragna. The Iranian name of a «deer» *gaṷaźna — is a compound and combines the stem *gau- «bull» and the stem *aźna-, formed from the verbal root * 1aź- «to drive, lead». This indicates the belonging of a deer and a bull to one class of animals in the world view of the Iranian peoples. Accordingly, in Scythian art, as in a language, the visual image of a deer probably served as the semantic equivalent of the image of a bull, given the insignificant prevalence of the latter’s images. According to the Yasht 14 of the Young Avesta, the bull acts as one of the embodiments of the military deity Verethragna and in the text above the horns the ama-power is localized (Yt 14, 7). The analysis of the use of the term ama- in the Yasht 14 shows that this «power» is a feature inherent exclusively to the military deity and the worriers. The interpolation of these data to Scythian art (the formation of this text and the art of the animal style occurred synchronously) can explain the reason for the image of hypertrophied horns of a deer, which can in this case symbolize the ama-power that is located above the brow. Accordingly, works and objects with such images could have as their goal the allotment of their owners with this power and familiarization with the military deity.

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Szanto, Edith. "Visualizing Belief and Piety in Iranian Shi‘ism." American Journal of Islam and Society 28, no. 4 (October 1, 2011): 137–40. http://dx.doi.org/10.35632/ajis.v28i4.1234.

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In her book, Ingvild Flaskerud once and for all dispels the idea that Islamlacks and opposes all forms of visual art. Hers is a pioneering work, whichguides her readers through Twelver Shi‘i visual culture in Iran. She framesher discussion by drawing on semiotic theory, particularly Charles SandersPeirce and Roland Barthes, in order to show both the interpretive possibilitiesinherent in visual piety and the ways in which meaning is fixed.Flaskerud is uniquely positioned for writing about visual piety, as she hasalready produced an artistic visual film (“Standard Bearers of Hussein:Women Commemorating Karbala,” 2003) on Shi‘i women’s practices inIran. Visualizing Belief and Piety in Iranian Shi‘ism is a Geertzian “thick description”(Geertz, The Interpretation of Cultures) composed of three parts,each of which is followed by black-and-white pictures analyzed in thatpart. The first two parts address two iconographic themes respectively. Thethird discusses the usage of pious art in votive practices and ritual spaces ...

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Turdiyeva, Oydin Zafardinovna. "THE ARTISTIC WORLD OF IRANIAN CHILDREN'S WRITER AMOOZADEH KHALILI." International Journal of Advance Scientific Research 4, no. 5 (May 1, 2024): 35–38. http://dx.doi.org/10.37547/ijasr-04-05-07.

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Faridun Amoozadeh Khalili is a talented writer who brought a new breath and a fresh spirit to Iranian children's literature, raised children's literature to a new level of art, expanded the range of topics, enriched the range of images and became one of the most prominent representatives of modern Iranian storytelling. Faridun Amoozadeh Khalili’s literary career began in the 1980s. There are cases of deep assimilation of elements of mythology, folklore and legends. Khalili's story "سفر به شهر سلیمان" ("Journey to the city of Solomon") is a work that combines real and fantastic factors, based on the ideology of myths, but also dedicated to the romantic world of childhood.

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Vanzan, Anna. "The Holy Defense Museum in Tehran, or How to Aestheticize War." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 63–77. http://dx.doi.org/10.1163/18739865-01301004.

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Abstract In September 2013 the Iranian authorities inaugurated the Holy Defense Museum (Muzeh-i Dafa’-i Moqaddas) in the capital Tehran that also hosts a Martyrs’ Museum (Muzeh-i Shuhada) built in the early 1980s and later renovated. The new museum is part of a grandiose project to commemorate the sacrifice of Iranians during the war provoked by the Iraqi regime (1980–1988). The museum encompasses various aspects of the arts (visual, cinematic, photographic, literary, etc.) shaped to remember and celebrate the martyrs of that war. The 1979 Iranian Revolution and the following Iran-Iraq War produced an enormous amount of visual material; works produced during this crucial period that disrupted the balance of power, both regionally and internationally, constitute an important part of Iran’s recent history. Visual materials produced in that period not only constitute a collective graphic memory of those traumatic years, they also revolutionized Iranian aesthetics. The Islamic Republic of Iran (hereafter IRI) establishment has a long experience in molding contemporary art for political purposes and the Holy Defense Museum represents the zenith of this imposing project. In this paper, I present an analytic and descriptive reading of the museum in light of my direct experience visiting the museum, and I explore its role in maintaining the collective memory of the Iran-Iraq conflict, in celebrating the revolution and in aestheticizing war.

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Nourshargh, H. E. "Tahrir as a Non‐Verbal Musical Element in the Art of Avaz." Art & Culture Studies, no. 3 (October 2021): 284–305. http://dx.doi.org/10.51678/2226-0072-2021-3-284-305.

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The essay explores the phenomenon of tahrir, one of the most important elements of the avaz vocal art in Iranian classical music. As a hereditary avaz performer and an active concert soloist who has sung in this tradition for a number of years, the author bases his reasoning on the extensive practical experience of several generations of Iranian singers. As a result, instead of interpreting tahrir as a purely ornamental device, which is quite a widespread approach to this phenomenon, the author presents its detailed explanation as an extra-verbal multifunctional element in the evolvement of the avaz sonic texture, noting its deep semantic, psycho-emotional and form-structural meaning in each particular musical utterance. Audio files and music examples are attached to the essay.

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Dianat, Fereshteh. "The Role of Photography in Conceptual Art in Iranian Artists." Journal of History Culture and Art Research 6, no. 3 (June 16, 2017): 831. http://dx.doi.org/10.7596/taksad.v6i3.906.

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Skurvida, Sandra. "Iranian or Not: DisLocations of Contemporary Art and Its Histories." Art Journal 74, no. 3 (July 3, 2015): 73–77. http://dx.doi.org/10.1080/00043249.2015.1125241.

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Diba, Layla S. "Qajar Photography and its Relationship to Iranian Art: A Reassessment." History of Photography 37, no. 1 (February 2013): 85–98. http://dx.doi.org/10.1080/03087298.2012.716227.

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Hatłas, Jerzy. "The Iranian Elements in the Thracian Art First Millenium B.C." Acta Universitatis Lodziensis. Folia Archaeologica, no. 26 (January 1, 2009): 213–22. http://dx.doi.org/10.18778/0208-6034.26.15.

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Xavier, Joana M., Farhad Shahram, Fereydoun Davatchi, Alexandra Rosa, Jorge Crespo, Bahar Sadeghi Abdollahi, Abdolhadi Nadji, et al. "Association study of IL10 and IL23R-IL12RB2 in Iranian patients with Behçet's disease." Arthritis & Rheumatism 64, no. 8 (July 27, 2012): 2761–72. http://dx.doi.org/10.1002/art.34437.

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Sreberny-Mohammadi, Leili. "Art at the Border: Sanctions and the Visual Arts of Iran." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 280–92. http://dx.doi.org/10.1353/hum.2023.a917001.

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Abstract: This article enumerates the myriad direct and indirect consequences of sanctions on the visual arts. The author draws on ten years of research on the circulation of Iranian art through international exhibitions and the global art market, particularly in the geographies of the United Arab Emirates, Europe and the USA, a time period that encompasses both the Obama-era sanctions on Iran as well as the Trump-era sanctions. Technically, artworks fall under the category of "information and informational materials" and are not under sanction. Yet, given how U.S. sanctions ban any institutions from engaging in financial transactions with Iran, the trade and/or exhibition of art is sanctioned in practice. The idea that art is an exceptional field of life that should be protected evolves quite directly from the philosophy of Emmanuel Kant. In simple terms, his ideas about the role of art in society underpin Western ideals of art and the value system embedded within the sanctions. For Kant, art is as a vehicle for expressing both truth and beauty. Unpolluted by either the political or economic, art should occupy its own autonomous sphere. When "Art" embodies these ideas, it is frequently imagined as a salve, a balm to the ills of society, or a mirror to its problems. The artist is a special genius, both a voice and savior for society. The Iranian artist specifically is then savior of the nation. What happens to these voices and their art when sanctions designed to strangle a nation are deployed? What obstacles do they create for this vehicle of salvation?

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Fekete, Albert, and Reza Haidari. "Special aspects of water use in Persian gardens." Acta Universitatis Sapientiae, Agriculture and Environment 7, no. 1 (December 1, 2015): 82–88. http://dx.doi.org/10.1515/ausae-2015-0007.

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Abstract The Persian garden is one of the most characteristic and notable element in the Iranian landscape. Considering Iran’s hot and dry climate along with water deficit for plantation, it becomes noticeable how important the art of making gardens is to Iranians. Water is one of the most crucial elements in the Persian garden, and we can state that gardens would be meaningless without it. Garden applications use water with its various abilities such as life, brightness, cleanliness, light, inertia, and motion, which bring forward numerous feelings in the human soul and enhance mental comfort. Also, its various running structures, such as basins, streams, water creeks, and fountains, provide mental comfort and technical functions.

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Shabrang, Hoda. "Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 45–61. http://dx.doi.org/10.5195/cinej.2020.220.

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In this article, first the “paradox of assimilation and difference” and its consequences will be discussed in the film A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant Iranian-American director. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her.

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Шукуров, Шариф Мухаммадович. "SPECIFIC ASPECTS OF THE MEMORY OF QAJARS. SOME APPROACH TO PERCEPTION OF LATE IRANIAN ARCHITECTURE." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(13) (June 5, 2020): 242–53. http://dx.doi.org/10.25995/niitiag.2020.13.2.011.

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Восприятие архитектуры и искусства иранской династии Каджаров невозможно без знания о своеобразии апроприативного метода - обращения к иранскому прошлому. Тюрки осознанно приняли ирано-арийское прошлое Ахеменидов и Сасанидов - царское одеяние и форму короны прошлого, чтение и переписывание наново иранского эпоса «Шах-наме» Фирдоуси, а также воссоздание практики древних иранцев по созданию наскальных рельефов. Апроприация прошлого прошла в весьма выгодном русле для каджарских архитекторов и художников. Конечно, ахеменидские и сасанидские наскальные рельефы стояли перед глазами каджарских шахов и их архитекторов/художников, и можно было бы подумать, что исключительно они служили образцом для них. Однако иранские архитекторы и художники словно знали о правилах апроприации: заимствуя, ты не просто повторяешь, не слепо копируешь, но создаешь новую вещь из старой. При этом идеологическая установка на ирано-арийское прошлое остается без изменений. The perception of architecture and art of the Iranian Qajar dynasty is impossible without knowledge of the appropriation method - an appeal to the Iranian past. Turkic peoples consciously accepted the Irano-Aryan past of the Akhaemenids and the Sassanians - the imperial attire and the form of the ancient crown, rereading and recopying anew the Iranian epos “Shah-name” by Firdousi. Qajarian kings also reconstructed the important practice of ancient Iranians - the creation of rock reliefs. The favorable course for the Qajarian architects and artists was the appropriation of the past. Of course, the rock reliefs of the Akhaemenids and the Sassanians stayed in the memory of Qajar shahs and their architects/artists. It would be possible to think that they were a sample for them. Let’s imagine that the Iranian architects and artists knew the rules of appropriation. Indeed, when you borrow something, you not just repeat, nor blindly copy it, but create not an old, but a new thing. At the time the ideological installation of the Irano-Aryan past remains without changes.

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TABE AFSHAR, Solmaz. "The study of consequences of Mongolians' invasion and establishment of the Ilkhanate dynasty on Iranian culture, art, and architecture." Journal of Art and Architecture Studies 10 (December 15, 2021): 24–30. http://dx.doi.org/10.54203/jaas.2021.4.

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The invasion of Mongolians was one of Iran's most important events in the history of Iran that was accompanied by full-scale consequences, especially political, social, and artistic aspects that have never left Iranian societies and are still current and ongoing. During these destructive wars that eventually led to the establishment of the Ilkhanate dynasty, countless cultural and artistic changes happened both among the Mongolians and also in Iranian society. With help of researches and library studies, and by taking an analytical look into art and architecture of this era, this study aimed to analyze the important political, religious, cultural, and social elements that affected the shaping of new concepts in architecture and art of the Ilkhanate period. Through these investigations, it was concluded that although various artistic and architectural elements were witnessed in the Ilkhanate period, following the presence of the Mongolians in this period, new artistic genres and schools were shaped alongside a spiritual and different atmosphere that was ruling art and architecture which was different from previous periods in Iran.

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Pourhosein, Reza, Shahin Mohammadi-Zarghan, Mehrnoosh Soufiabadi, and Mohammad Atari. "Ego development and aesthetic judgment styles in Iranian adults." Psychological Thought 10, no. 1 (April 28, 2017): 80–89. http://dx.doi.org/10.5964/psyct.v10i1.213.

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The theory of ego development presents a comprehensive framework to understand personality development throughout the stages of life. In this developmental theory, the ego is considered a cognitive-based structure and the primary synthesizing and regulating agent in personality development. Art appreciation and aesthetic judgment are considered to have personality correlates and developmental aspects. The current study aimed to examine the association between ego development and aesthetic judgment styles in adults. We recruited 202 adults from a community sample in Tehran, Iran. The age of participants in this study ranged from 18 to 64 (M = 29.5, SD = 8.9). Consistent with our hypotheses, results indicated that concrete aesthetic judgment was negatively associated with ego development. Moreover, analytical and emotional aesthetic judgment styles were positively correlated with ego development. In conclusion, individuals who scored higher in ego development tended to use more advanced aesthetic judgment styles when exposed to art.

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50

Keshmirshekan, Hamid. "Contemporary or Specific: The Dichotomous Desires in the Art of Early Twenty-First Century Iran." Middle East Journal of Culture and Communication 4, no. 1 (2011): 44–71. http://dx.doi.org/10.1163/187398611x553724.

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AbstractThis article analyzes the dominant dichotomy in cultural and artistic ideas which Iranian artists—like many non-Euro-American artists—have been forced to confront. These include the idea of 'contemporaneity': being imbued with the 'spirit of the time', particularly dominant in the minds of the so-called 'Third Generation'; 1 and 'specificity', an underlying precept of compelling force. The first involves the idea that 'postmodernist' imagery is one of fragmentation and hybridization—the scattering of traditions and the recombination of their diverse elements (see Campbell 1999: 5). The second refers to the ever-present obsession with cultural and frequently social concerns with which Iranian artists are engaged, both within the country and across the diaspora. Contemporary debate on Iranian art reveals deep-rooted anxieties about national and cultural identity. It raises the important question: Is it possible to open up an art practice and discourse that is both contemporary and global, but also indigenous and specific? While this work reflects my own observations, it also relies heavily on the analysis offered in interviews with artists, philosophers, critics, curators and some former administrators in artistic affairs. It finally focuses on four artists through a study of their works and ideas about the aforementioned issues.

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