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Journal articles on the topic 'Artista iranianos'

Author: Grafiati

Published: 5 September 2021

Last updated: 29 July 2025

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1

Medeiros Nunes, Caroline Atencio. "Rejeitado, Reinventado, Tolerado, Negociado: O uso do véu islâmico e as Relações de Gênero no Mundo Muçulmano através da ótica de Marjane Satrapi em Persépolis." Revista Discente Ofícios de Clio 5, no. 8 (2020): 258. http://dx.doi.org/10.15210/clio.v5i8.18984.

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O presente artigo visa analisar, sob a ótica da artista iraniana Marjane Satrapi, em sua Graphic Novel Persépolis, a atenção dada às relações de gênero no mundo muçulmano. Focando no caso do Irã, através da análise de algumas imagens destacamos as políticas de uso do véu e as possibilidades de se pensar em um feminismo islâmico.Palavras-Chave: Irã; Islã; Feminismo islâmico; Véu.AbstractThis paper aims to analyze the attention given to gender relations in the Muslim world from the perspective of the Iranian artist Marjane Satrapi, in her graphic novel Persepolis. Focusing on the case of Iran, t

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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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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

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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

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Beradze, Grigol, and Marina Alexidze. "Tbilisi in the Memories of the Early Twentieth-Century Persian Artist." Near East and Georgia 15 (December 15, 2023): 159–67. http://dx.doi.org/10.32859/neg/15/159-167.

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In the last decades of the nineteenth century, for Iranian artists, especially from Tabriz (Azerbaijan, Iran), Tbilisi was the closest city where they could get acquainted and master the methods and techniques of European academic painting. At that time, a number of artistic societies and private or public art schools operated in Tbilisi. Around 1900, three members of the Arjangi family from Tabriz, who are considered outstanding representatives of modern Iranian painting, received an artistic education in Tbilisi: Seyd Ebrahim Aqa Mir and his sons, Seyd Hosayn Mir Mosavar Arjangi and Seyd Abb

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MarjanehNaderi. "Tenors and Concepts of Herbaceous Figures in the Throne of Jamshid." Journal of Progressive Research in Social Sciences 4, no. 1 (2016): 257–61. https://doi.org/10.5281/zenodo.3972238.

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Petroglyphs are an important feature of the Throne of Jamshid. The architecture is filled with numerous themes, concepts, and fundamental values from Iranian culture; and in this regard, the importance of herbaceous motifs is unique. Particularly, these motifs can be seen in various parts of the structure like stairways, Halls and … either used separately, or in merger with other animal or human motifs. Amongst the herbaceous figures, cypress, and amongst flowers, lotus and rosette are seen in the figures of Persepolis. Extensive presence of these figures is related to the ancient belie

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Tes, Agnieszka. "Silence, Spirituality and Contemplative Experience in Contemporary Abstract Paintings. Analysis of Selected Examples." Perspektywy Kultury 31, no. 4 (2020): 207–24. http://dx.doi.org/10.35765/pk.2020.3104.14.

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In recent decades, there has been increasing interest in including the spiritual dimension in artistic practice and in discourse on art. This phenomenon seems to be universal but is definitely not homogenic. I examine it by referring to meaningful examples of abstract paintings from different cultural and religious backgrounds. I analyze artworks by two contemporary bicultural painters: the American-Japanese artist, Makoto Fujimura, and American-Iranian artist, Yari Ostovany. The Polish non-figurative artist Tadeusz G. Wiktor is also considered. Their oeuvre can be set within the larger con

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Sreberny-Mohammadi, Leili. "The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016." Arts 10, no. 2 (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,

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Abazine, Lina. "Glocalization: An Analytical Path Towards More Inclusive Contemporary Art?" Journal of Extreme Anthropology 1, no. 2 (2017): 5–12. http://dx.doi.org/10.5617/jea.4888.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay deals critically with the notion of the 'global art world', showing that there may instead be numerous self-centred and ethnocentric art worlds, while also critically engaging with inequalities that persist within and across these art worlds and markets. In this respect it also deals with the work of

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Karimi, Pamela. "Art of Protest in Five Acts." Iranian Studies 56, no. 3 (2023): 585–95. http://dx.doi.org/10.1017/irn.2023.18.

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The world's first encounter with the tragic murder of the 22-year-old Mahsa Amini by Iran's “morality police” was through her image. As millions around the world browsed through news and social media, they were shocked by the image of the unconscious Amini hooked up to ventilators—her punishment for showing some hair through a loosely worn scarf (Fig. 1). The photograph was so influential that a week after its release, its brave photographer, journalist Niloofar Hamedi, was imprisoned. Despite government pressure, artists began reproducing this horrific image. In stylized reiterations, the por

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Rostami Gharagozloo, Elnaz, and Faegheh Shirazi. "Faceless Women and Portrait Multiplicity: Representation of the Self in Contemporary Iranian Women Artists' Self-Portraits." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 11 (2024): e003083. https://doi.org/10.47405/mjssh.v9i11.3083.

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This article explores the representation of the self in self-portraiture, focusing on analysing the artwork of several contemporary Iranian women artists. It delves into how the Iranian government's enforcement of specific appearances for women, as part of shaping an Islamic identity, has compelled Iranian women artists to challenge conventional notions of women's self and identity in their self-portraits. The article demonstrates that the concept of “self” for these artists is not a singular or objective entity, but rather a collective construct. This research employs dramaturgy theory, a soc

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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 (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 o

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Karami, Paria. "Redefining Women’s Bodies from the Perspective of Iranian Contemporary Female Artists." Arts 13, no. 6 (2024): 167. http://dx.doi.org/10.3390/arts13060167.

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In contemporary art, the representation of the “body”, particularly the female body, has emerged as a crucial site of feminist critique and exploration. This is especially evident in the works of Iranian female artists, who challenge prevailing local and global discourses surrounding female embodiment. This study examines how artists such as Shirin Neshat (b. 1957), Parastou Forouhar (b. 1962), and Shadi Ghadirian (b. 1974) use their art to redefine representations of women’s bodies within the socio-political context of post-revolutionary Iran. The restrictive post-revolutionary environment, m

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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

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Mohammed Elabed Yaseen, Eman. ""Najaf" an Iranian Artistic Family - An Archeological Artistic Study." International Journal of Advanced Studies in World Archaeology 5, no. 2 (2022): 306–31. http://dx.doi.org/10.21608/ijaswa.2022.266221.

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Kryvoruchko, Svіtlana. "Clothes in the novel S.-M.-M. Kazemi "Tehran casemates"." Volyn Philological: Text and Context 33-2022 (June 28, 2022): 237–49. https://doi.org/10.5281/zenodo.7088606.

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Iranian writer of the early 20-th century Seyed Mortaza Mosfek Kazemi (1904–1978) entered the history of literature as the founder of the first social novel in Persian literature "Terrible Tehran" in 1922. Absolutely new for Iranian works was the introduction of female images and the disclosure of their problematic existence in a patriarchal culture, on the one hand, and the revelation of the national mentality in the traditional social system, which destroys people in general, does not allow to live, on the other hand. The scientific problem is the understanding of the charact

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Rahimi, Zahra, and Amin Khaksar. "Gender Disparity and Obstacles Faced by Female Musicians in Iran's Music Industry." International Journal of Social Science Research and Review 7, no. 9 (2024): 151–59. http://dx.doi.org/10.47814/ijssrr.v7i9.2229.

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Iranian female musicians face numerous obstacles that hinder their entry and growth in the music market despite having the potential to flourish. These challenges include limited access to resources, fewer performing opportunities, and societal biases that favor male artists. This study aims to investigate the gender-related challenges that women artists in Iran face, particularly emphasizing the significant inequities that exist for musicians. Combining qualitative data from in-depth interviews and document analysis with quantitative data from structured surveys, the primary study investigate

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Rebechi Junior, Arlindo. "Abbas Kiarostami, uma poética da incerteza." Comunicação & Educação 28, no. 1 (2023): 202–10. http://dx.doi.org/10.11606/issn.2316-9125.v28i1p202-210.

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Este artigo tematiza alguns aspectos da poesia do artista e intelectual iraniano Abbas Kiarostami. Além de ser poeta, representante de uma longa tradição poética persa, ele também foi cineasta e fotógrafo, havendo forte vínculo e diálogo entre sua poesia escrita e as demais artes que produzia. Um tema central parece ser de grande interesse do poeta Kiarostami: a representação da paisagem natural e o jogo de incertezas que a natureza proporciona para a reflexão da própria modernidade.

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Balaghi, Shiva. "A Crooked Path through History: Iranian Exile Art." Social Research: An International Quarterly 91, no. 2 (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 s

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

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BABAZADEH, HAJAR. "ENVIRONMENT IN THE WORKS OF NINE IRANIAN VIDEO ARTISTS." A Journal of Iranology Studies 1, no. 18 (2023): 26–34. http://dx.doi.org/10.5152/ajis.2023.220618.

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Bombardier, Alice. "The Pioneers of Iranian New Painting." Middle East Journal of Culture and Communication 13, no. 1 (2020): 98–115. http://dx.doi.org/10.1163/18739865-01301007.

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Abstract In an interview, the Iranian painter Ahmad Esfandiari (1922–2012) related that he witnessed a particularly difficult time at the beginning of his career, when he did not know what direction his work might take. Slowly he overcame this fear of the unknown and discovered ‘the pleasure of uncharted paths’. But the critics did not see any social value in his work (Mojabi 1998: 155). In his testimony, Ahmad Esfandiari described the tumultuous 1940s, during which an innovative pictorial style called ‘New Painting’ appeared in Iran. Contrary to popular opinion, contemporary Iranian painting

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Pourmahmoud, Sadaf, та Asghar Fahimifar. "The idea of the Нoly Relation to The philosophy of Sacred Decoration in Iranian-Islamic Art (A Case Study on an Inscription from the Dome of Taj Al-Molk, Isfahan’s Jāmeh Mosque, Seljuk Period, 5th–6th Сentury AH)". Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 40, № 4 (2024): 714–26. https://doi.org/10.21638/spbu17.2024.412.

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Iranian-Islamic art has featured whose epistemological nature differs from other Islamic arts because it is associated with a rich intellectual infrastructure called the Philosophy of Decoration. Also, The Idea of the Holy assumes the manifestation of the superior world’s light in the sensual and material universe as the origin of extrasensory truth and the origin of IranianIslamic artist inspiration. The way these concepts are echoed in the aesthetics of Islamic decoration shapes the objective of the present article which tries through a descriptive-analytical method to make a bridge between

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Golmohammadi, Naser. "An analysis of the circumstances and factors that have influenced the development of Animation Industry in Iran in the 1960-2002 periods." Environment Conservation Journal 16, SE (2015): 61–77. http://dx.doi.org/10.36953/ecj.2015.se1607.

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In the early part of 20th century animation emerged as a revolutionary way of making art. It evolved into a powerful means of expression and creativity of artists who could merge all art genres into one art form. The subsequent developments of animation have opened its diverse uses in entertainment business, education and political propaganda. This article attempts to examine the factors that have influenced and shaped the development of animation industry in Iran. It takes a historical view and investigates the impacts of changing socio-economic and political forces that have determined

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Rizk, Reem. "Under the Watchful Eyes of the Supreme Leader: Iranian Politics and the Art Market." International Journal of Persian Literature 9 (October 1, 2024): 202–21. http://dx.doi.org/10.5325/intejperslite.9.0202.

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Abstract This article studies the relationship between politics and the art market. It adopts the Iranian model and analyzes how the political advancement of the Islamic Republic influenced aesthetics, art production, and the art market, to highlight how a conservatively religious model—governed by theocracy—impacts an otherwise prosperous and affluent culture. As such, this study also explores the correlation between art and moral virtues within a society. According to data, exportation of Iranian art was enjoying a far more lucrative climate the world over prior to the 1979 revolution. After

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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 (2017): 831. http://dx.doi.org/10.7596/taksad.v6i3.906.

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Холомеева, А. А. "THE FORMATION OF IRANIANS’ ARCHITECTURAL STYLE OF THE 9-11 CENTURIES." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 85–99. http://dx.doi.org/10.25995/niitiag.2019.12.1.004.

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Присоединение иранских территорий к Халифату стало событием, следствием которого явилось изменение образа жизни, мировоззрения, восприятия населением окружающего мира. Именно эти изменения в образе мышления привели, в свою очередь, к последующей трансформации художественных вкусов эпохи и формированию характерных стилистических черт в архитектуре. Из этого следует необходимость анализа вышеназванных изменений в духе эпохи, Zeitgeist, чему и посвящен второй раздел статьи. Вектор ислама стал движущей силой этих преобразований Zeitgeist. Цель настоящей статьи заключается в том, чтобы наметить усл

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Reza, Rafiei Rad. "Feasibility study of Persian irony functions in Iranian conceptual art." Sprin Journal of Arts, Humanities and Social Sciences 1, no. 2 (2021): 150–56. https://doi.org/10.5281/zenodo.5823563.

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<em>Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their wo

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Sadeghi Sahlabad, Zeinab, Oksana Kravchenko, and Alina Shuldishova. "IMAGES OF GILAN IN THE POETICS OF VELIMIR KHLEBNIKOV." Проблемы исторической поэтики 21 (June 2023): 196–216. http://dx.doi.org/10.15393/j9.art.2023.12402.

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The article discusses V. Khlebnikov’s Iranian images associated with the poet’s stay in Gilan from April to July 1921. The relevance of the article is determined by the need to explore the Persian component of Khlebnikov’s poetics, which cannot be reduced to speculative and generalized Asian images. The article demonstrates the diversity of poetic manifestations of Gilan, depicted through its inhabitants, landscapes, mythology, ancient and contemporary history. The poem “Night in Persia” is proposed to be read as a spiritual experience of mastering space. The specifics of female images in the

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Shamla K.M. "Post Islamic Revolution and Women in Iran: Interrogating Identity through Photography." International Journal of Linguistics, Literature and Translation 8, no. 7 (2025): 09–13. https://doi.org/10.32996/ijllt.2025.8.7.2.

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The Islamic revolution of 1979 in Iran brought drastic changes in the lives and identities of Iranian women. Women who participated in the rebellion against the Shah’s rule for the sake of safeguarding their religion found their voices unheard. The public space which they occupied during the revolution soon turned into an alien space to them. The ‘chador’, the traditional loose garment that covered one from head to toe, which they wore in defiance of Shah’s westernizing tendencies, became a compulsory dress code for women in public spaces after the revolution. Hence, the post Islamic revolutio

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Kobialka, Michal. "Tadeusz Kantor and Hamed Taheri: Of Political Theatre/Performance." TDR/The Drama Review 53, no. 4 (2009): 78–91. http://dx.doi.org/10.1162/dram.2009.53.4.78.

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Is political performance still viable? Kobialka shows how Iranian theatre director Hamed Taheri—influenced by Polish avantgarde artist Tadeusz Kantor—develops a new kind of radical theatre/performance using actor-immigrants from African nations, Chile, Afghanistan, and Iran.

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HALABI, Zeina. "The Missing Archive of Loss." Regards, no. 22 (October 10, 2019): 119–26. https://doi.org/10.70898/regards.v0i22.140.

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The article examines the power of visual archives and the implication of their absence on the work of mourning. It explores the photographic work of the Iranian artist Azadeh Akhlaghui who retroactively assigned visual identities to the unrecorded death of prominent Iranian figures. The scenes of death reconstructed in highly staged photographs operate as the guardians of collective memory insofar as they enable the work of mourning, a process of reckoning with loss that ultimately frees the collectivity from enduring melancholia.

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Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The auth

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Soleymanfar, Z. "DANCE ART IN THE ARTISTIC DESIGN OF TITLES OF IRANIAN CINEMA." Bulletin of the South Ural State University Series «Social Sciences аnd the Humanities» 24, no. 1 (2024): 65–71. http://dx.doi.org/10.14529/ssh240108.

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Iranian dance is distinguished by a number of specific features, one of which is the graceful movements of the hands, wrists, and legs, combined with lively facial expressions and body positions. The refined, intricate, and flirtatious gestures and symbols of Persian courtiers, solo, improvisational dances, and the spiritual dance of Sufis reflect the richness of Persian culture. After the 1979 revolution, in accordance with the new revolutionary realities, dance in Iran came under restrictions. However, dance art as a pillar of Persian culture remains an important social phenomenon for the na

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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 componen

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Rafaee, Adeleh, and Parisa Shad Qazvini. "The Symbolic Review of the Concept of War in the Works of Iranian Artist: Ali Akbar Sadeghi." Review of European Studies 8, no. 2 (2016): 171. http://dx.doi.org/10.5539/res.v8n2p171.

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<p>By examining the history of world art, it can be expressed that art was not conducted between different ethnic groups only through cultural exchanges. And sometimes common aspects can be found among the artworks which have been the same among all nations. This suggests that the human is a treasure of symbols and images in which the traces of all human races can be seen during different periods of time. Carl Gustav Jung called this belief as “archetype” which is manifested in various symbolic forms. According to this theory, we can cite the many artists not only to express their own et

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Mohebbi, Alireza, Hesam Jahandideh, Zhaleh Faham, and Morteza Jafari. "Defining the Best Nasal Tip Projection among Iranian Women." Plastic Surgery International 2016 (May 16, 2016): 1–3. http://dx.doi.org/10.1155/2016/8549276.

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Rhinoplasty is one of the most complicated aesthetic surgeries. One important factor in nasal profile analysis before surgery is the NTP (Nasal Tip Projection). There has been controversy over defining the best tip projection and due to cultural differences there is a need to find the best formulation for Iranian noses. We selected 50 randomized patients. Lateral nasal views were captured from all of the patients. In order to equalize the photos, all tip rotations changed first to 105. We selected four methods for measuring NTP (Goode, Crumley 1, Crumley 2, and Powell and Humphreys). Based on

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

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Saroyan, T. E. "Ashoughs and poets in the 17th–19th Eastern Armenian and Iranian café houses." Urbis et Orbis Microhistory and Semiotics of the City 4, no. 2 (2024): 217–26. https://doi.org/10.34680/urbis-2024-4(2)-217-226.

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The study endeavors to examine the dynamics of movement, posture, and social interactions within cafés operating in the two neighboring countries during the 17th to 19th centuries. These establishments, which began their global spread in the 17th century, served as quintessential gathering places for men in Eastern societies, where various discussions took place amidst the accompaniment of ashough music and poetic recitations. They were venues where the intellectual and creative figures of the era – writers, musicians, and artists – regarded cafés as the ideal platform for self-expression, thu

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Saroyan, T. E. "Ashoughs and poets in the 17th–19th Eastern Armenian and Iranian café houses." Urbis et Orbis Microhistory and Semiotics of the City 4, no. 2 (2024): 217–26. https://doi.org/10.34680/urbis2024-4(2)-217-226.

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The study endeavors to examine the dynamics of movement, posture, and social interactions within cafés operating in the two neighboring countries during the 17th to 19th centuries. These establishments, which began their global spread in the 17th century, served as quintessential gathering places for men in Eastern societies, where various discussions took place amidst the accompaniment of ashough music and poetic recitations. They were venues where the intellectual and creative figures of the era – writers, musicians, and artists – regarded cafés as the ideal platform for self-expression, thu

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Matochkina, Anna. "Synthesis of Calligraphy and Music in the Work of Bahman Panahi." Oriental Courier, no. 4 (2022): 199. http://dx.doi.org/10.18254/s268684310023812-1.

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The paper looks into to the work of the modern Iranian calligrapher and artist Bahman Panahi. On the example of his works, one can see the dynamism of the art of calligraphy. This type of Muslim art continues to develop actively and, in combination with other types, such as ornament, music or graffiti, gives rise to new interesting directions. In the work of Bahman Panahi, calligraphy is so naturally combined with music that the artist himself refers his works to the genre of musicalligraphy. “Musicalligraphy” is a term that the artist proposed to refer to his work while studying at the Sorbon

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TAJEDDIN, MEHDI. "Flying in the Cage: Iranian Theatre Directors’ Creativity in the Face of Censorship." Theatre Research International 49, no. 3 (2024): 280–98. https://doi.org/10.1017/s0307883324000208.

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Censorship in Iranian theatre sometimes prevents artists from staging some of the scenes in their plays. Among these are scenes involving embracing, kissing, raping and so on, or scenes containing ideological or political themes. Occasionally, after omitting such scenes, theatre directors try to find suitable alternatives and create a similar effect. The present research, with an analytical–descriptive approach, seeks to focus on alternative solutions, as well as creative models, developed by Iranian directors to circumvent social-regulatory censorship and identify alternatives in performances

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Habibi, Negar, and Shervin Farridnejad. "Sacred King in the Shah Tahmasp Shahnama." Manazir Journal 5 (October 9, 2023): 100–124. http://dx.doi.org/10.36950/manazir.2023.5.6.

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This paper aims to trace the pre-Islamic Zoroastrian concept of “royal divine glory” (farr) through its visual translations within the Iranian manuscript cultures in the Safavid period, specifically in the illustrations of the Shahnama-yi Shahi in the 16th century. Reviewing the longue durée idea of Iranian kingship perceived within the Safavid royal ideology in the reigns of the first two monarchs, we delve into the Shahnama paintings to see the artists’ assets for showing the divinity and dignity of Iranian kings and how they managed to mark a difference between the profane and Shiite iconog

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Zabolinezhad, Hoda, and Parisa Shad Qazvini. "Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution." International Journal of Criminology and Sociology 9 (April 5, 2022): 285–99. http://dx.doi.org/10.6000/1929-4409.2020.09.27.

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There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a signifi

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Sivri, Melis Tanik. "Establishing an Authentic Artistic Identity." Romanian Journal of Psychoanalysis 11, no. 2 (2018): 27–40. http://dx.doi.org/10.2478/rjp-2018-0015.

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Abstract Shirin Neshat is an Iranian contemporary female artist who is in exile by choice. Born in Qazvin, Iran, in 1957, the artist moved to the United States in 1974 in order to study arts. Due to the Islamic Revolution in 1979, she was prevented from going back to her country. In 1990, after almost 12 years, Neshat visited Iran for the first time after the revolution, which transformed her artistic life into a productive one, full of prizes. The aim of this article is to reflect on the impact of Neshat’s homecoming experience in developing an authentic artistic identity. The emphasis of the

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Akbarzadeh, Daryoosh, and Shiba Khadir. "Dating of Three Sasanian Bowls from the National Museum of Iran." Studies in Ancient Art and Civilisation 27 (December 22, 2023): 201–20. http://dx.doi.org/10.12797/saac.27.2023.27.10.

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Three Sasanian Silver Bowls at the National Museum of Iran, known collectively as the “dancer-musician scenes,” have been considered as one of the museum’s most iconic works for the past 70 years. Only bowl No. 1 has been examined by numerous Western and Iranian scholars. Based on the catalog of the exhibition “7000 Years of Iranian Art Exhibition” in Vienna (2001-2002), these dishes have been tentatively dated to 8-9th centuries CE. All subsequent exhibitions have followed the same pattern. In addition, the dark heart-shaped decorations on two dishes have been called minā (enameling) in most

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Khatib, Lina. "The Politics of Iranian Cinema." American Journal of Islam and Society 27, no. 3 (2010): 117–19. http://dx.doi.org/10.35632/ajis.v27i3.1315.

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If there is one element of the politics of Iranian cinema that is understudied,it is that of the relationship between Iranian films and the Iranian film audience.Saeed Zeydabadi-Nejad’s book, The Politics of Iranian Cinema: Filmand Society in the Islamic Republic, fills this glaring gap by providing aunique insight into how Iranian films are received in Iran; what political andsocial debates they spark; and how they form part of a larger nexus of powernegotiations between the state, artists, and film viewers. The book takes anexpansive approach to “politics,” not favoring hard politics over so

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Purik, Elsa E., Mars L. Akhmadullin, and Marina G. Shakirova. "Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov." ICONI, no. 1 (2019): 147–56. http://dx.doi.org/10.33779/2658-4824.2019.1.147-156.

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The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous influence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, cond

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Afshar, Sareh Z. "Postrevolutionary Retrojection: Azadeh Akhlaghi Stages 17 Deaths in Iran." TDR/The Drama Review 64, no. 1 (2020): 36–61. http://dx.doi.org/10.1162/dram_a_00895.

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In By an Eye-Witness (2013), conceptual artist Azadeh Akhlaghi restaged the deaths of iconic 20th-century Iranian reformists and revolutionaries before a camera. With its microhistorical approach, the work masterfully offers insight into how we might bridge narrative gaps in lieu of erasing them. The series posits history as a memory always constructed as such, and shows how changing the archive amounts to changing the future.

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Moosavi, Marjan. "Desacralizing Whispers: Counter-Conduct in the Iranian War Theatre." New Theatre Quarterly 34, no. 3 (2018): 235–48. http://dx.doi.org/10.1017/s0266464x18000222.

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The commemoration of sacrifice and martyrdom in the Iran–Iraq war led to dissemination of the ‘sacred defence’ culture and its theatre progeny – the Arzeshi genre, which is rooted in Shi’i religious values, Persian culture, and Iranian performance traditions. In response to this, Iranian anti-war theatre practitioners have intervened through a counter-conduct theatricality made up of characters, stories, reasoning, embodied emotions, and scenic languages. A thematic and aesthetic analysis of three stagings of the anti-war play The Whispers Behind the Front Line by the prominent Iranian playwri

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