Art
الهه Panjehbashi; motahareh seifi
Abstract
In the second half of his rule, Shah Tahmasb Safavi took the path of extremism. In this regard, women, especially court women, stayed at home. Tahmasabi's Falnama (962-967 AH) was written in the same period and by his order. Ervin Panofsky (1892-1968) is one of the art history researchers who methodized ...
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In the second half of his rule, Shah Tahmasb Safavi took the path of extremism. In this regard, women, especially court women, stayed at home. Tahmasabi's Falnama (962-967 AH) was written in the same period and by his order. Ervin Panofsky (1892-1968) is one of the art history researchers who methodized iconology. He attributed three levels of meaning to the reading of the work of art, in which the researcher looks for the symbolic values of a society that the artist unconsciously reflects in his work. This research seeks to answer the question that according to Ervin Panofsky's opinion, what institutionalized belief about women is reflected in the painting of the expulsion of Adam and Eve from Paradise in Tahmasbi's Falnama?
The aim of the research is to find the roots of Shah Tahmasib's beliefs about the position of women and its reflection in the painting of the expulsion of Adam and Eve from heaven in Tahmasbi's Falnama.
The research is conducted in a qualitative and comparative-analytical manner and its purpose is fundamental. The method of collecting materials has been done in a library style and with an iconological approach. A statistical example is the painting of the expulsion of Adam and Eve from heaven in Tahmasabi's Falnama. Conclusion: The image is influenced by the Qur'an, but there are elements in the image (Adam's reproachful state towards Eve, peacock, snake-dragon) that are not found in the Qur'an. So, the artist was inspired by other texts that were taken from ancient sources. It seems that the root of women's restrictions in this period can be seen as extreme beliefs that come from ancient metamorphoses such as the war between male and female gender
s, Eve's committing the first sin and blaming the female gender; Therefore, the painting is a document that reflects these beliefs about women in the patriarchal society of Shah Tahmasab's era.
Elaheh Panjeh Bashi
Abstract
In contemporary times, the role of women in the art of painting has played an important role. One of the female contemporary American artists is Mary Beth Adelson, who recreates the works of art of the past with the faces of women and protests against the absence of women in the history of art. In her ...
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In contemporary times, the role of women in the art of painting has played an important role. One of the female contemporary American artists is Mary Beth Adelson, who recreates the works of art of the past with the faces of women and protests against the absence of women in the history of art. In her works, which are based on the element of femininity in the image, there are signs of women's art thinking in reconstructed paintings of women. One of these paintings that is studied in this research is the Last Supper painting, which has been reconstructed with a piece of the face of women artists in the contemporary world. Lucy Lipard's theories are used for the basics of research, which are based on aesthetics and feminine form. In this study, the work of Adelson's Last Supper is studied analytically with Ara Lipard, a theorist in the field of women's art. The present research is qualitative and the methodology of this research is comparative and the method of collecting research information is based on the library method. The questions in this study are: What is the form of femininity in Adelson's Last Supper, and is it compatible with Lucy Lipard's theory? The purpose of this study is an analytical study on the works of Akif and its adaptation to Lipard's theory of female form. The results of this research show that in Adelson's last supper, femininity is the main subject of this painting, the image of contemporary women artists has been used and has replaced the companions of Christ. He reconstructs the face of Christ with a painting by Georgia Akif, one of the pioneers of women's art in contemporary art. This work is similar to Lucy Lipard's theory of feminine form in terms of feminine form,
Elahe Panjebashi; Anita Sanei
Abstract
Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is ...
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Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is to study the characteristics of women and their presence in the coffee plantations of house in hossein and agassi . in this regard , the present study seeks to answer these questions : how is the visual characteristics of women in these pictures ? the method of this research is analytical and data collection method is library type . the results indicate that women as a dynamic element in agassi 's paintings are present and have a high place with islamic - iranian coverage in the composition of works . in his works , women are more considered in epic forms , women in his works are depicted as heroic and masculine , while preserving women 's identity . in shahnameh , women play the main roles and play the most important role of men , but this does not mean that they have never had a significant impact on the process of playing the role of men . these women are wisdom , wisdom , wisdom . in this paper , it is concluded that using visual cues to influence the audience in the works the main character of women have formed . to use these symbols to visualize a different discourse in the meaning of their works on the role of these women .
Elahe Panjehpashi; Fatemeh Doulab
Abstract
The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this ...
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The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this research. The present study is based on the historical-comparative method. is the data have been collected from library (documentary) and with a historical approach based on morphological theory. This research analyzes the morphology of the female form in the tiling of these two buildings. The study also examined the similarities and differences of the buildings according to Propp's theory. It is concluded that the role of women in the form of the characters of Shirin, Belqis and Zuleikha is one of the main decorative images in the entrance of Eram Garden and the house of Zinat al-Muluk. The main decorative motifs of women in this building are made with Qajar clothes and decoration. Woman as the main decorative element in the tiling of these entrances emphasizes the role of women and has been compatible with Propp's theory.
Art
Elaheh Panjebashi; Farina Farhad
Abstract
The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. ...
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The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. They displayed all features of social conditions, in political Qajar Era. All Qajar's motifs are arranged under the influence of various arts such as lithography, a Coffee shop drawings, photography, and Western postcards. We have examined the features of the ancient tile designs as the arts of Golestan Palace. This research has studied the role of the women image in tiles of the ancient Golestan Palace. The purpose of this research is to examine the image of women in Golestan Palace courtyard tiles and the features of sun and angel in tiles of Golestan Palace. The required data were collected by documentary and field surveying method in the current study and its method is historical- analytical. The results of this study show that women represented in the tiles are in the form of the Sun and Angels. The Sun is drawn according to the characteristics of Oriental Women and the role of the Angel shows Byzantine art and painting.
Art
Elaheh PanjehBashi
Abstract
Paintings of the late Qajar period and brilliant paintings from important periods in Iran were under the influence of painting in relation to Europe and thereby experienced great changes. This article, using semiotic approach, analyzes two paintings created by Qajar women; one is anonymous, and the other ...
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Paintings of the late Qajar period and brilliant paintings from important periods in Iran were under the influence of painting in relation to Europe and thereby experienced great changes. This article, using semiotic approach, analyzes two paintings created by Qajar women; one is anonymous, and the other is painted by Ismail Jalayer- a graduate of the academy school. Both paintings present an image court women while the symbols imply different concepts. The current article deals with the following questions: Are the proposed works an indication of the value of Qajar paintings? Are the signs meaningful in relation to other signs? The current study aims to examine the signs- cognitive meanings in texts. The images of the concepts common signs to convey different messages to the audience is used Qajar women.
