Kwestan Shahabi; jamal mohammadi
Abstract
AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have ...
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AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have been analyzed by way of Kress & Leeuwen’s social semiotic model, in terms of representational, interactional, and synthetic meanings. The findings show that these two painters, in spite of similarity in terms of their themes and styles, reach two different points: femininity as represented in Vakili’s work follows a kind of reflective sexism, though in Karimi’s work it follows a passive sexism. In the first one, the form of connection between the elements is narrative, so it can provide a reflection of women’s identity. However, in the second one, the elements are connected through a conceptual pattern as well as a kind of passive sexism is unintendedly reproduced. Vakili represents the subject in a natural space which reminds the women’s status in mythical thinking, but Karimi represents the subject in the context of home and family, something which symbolizes women’s status in traditional society. Vakili’s work invites the audience to think about the effects of external factors in constructing female identity, but Karimi’s paintings call the viewers to have a kind of sympathy and identification with women in traditional family and society.
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,
Habib Shahbazi Shiran; Seyed Mehdi Hosseini Nia; esmaiel maroufi aghdam; Zahra Nasrollahi
Abstract
During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing ...
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During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing Painting, one can understand the very important and prominent points of musical life, including the presence and service of female musicians and the instruments and innovations of this art in this period. In the history of Iran after Islam, the Safavid era is also a turning point in terms of important political, cultural, and social changes, and Safavid miniature, like other branches of art, was no exception to this rule. The present article intends to comparatively examine and explain the identity and social status of female musicians with a comparative approach and in a descriptive-analytical and historical method and according to library sources and museum documents left from the Timurid and Safavid eras. The main question of this research is as follows; How are the two dynasties’ insights into female musicians explained in works of art? Studies show that despite the similarity of the maps of these two periods, in the Safavid era, however, greatness and respect for women and musicians were more than the Timurid period. In the Timurid era, female musicians were performed in quiet, unhurried gatherings with the king, usually in the lower house. In the early Safavid period, women were depicted with court men and close to the king, and in the late period, in crowded scenes; Instead of playing more, they dance and their position has seen a temporary decline.
Art
Sare Tahmasbizade; Mohamad Ebrahim Zarei
Abstract
In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention ...
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In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention is the remarkable difference between the women's survivors of the Qajar period with travel writings and paintings of this period. What has been studied in this research is to validate the accuracy of the Qajar women's background based on archaeological evidence. The collection of materials in this library research is written in a historical-analytical way. Accordingly, the questions of this paper are as follows: How is the apparent image of women in paintings of Qajar period to compare with other archaeological evidence? Is there any difference in the apparent appearance of the women left behind the archaeological evidence of the Qajar era, what factors has caused this difference? The results of the surveys show that we are seeing some kind of difference between the concepts of the pictures left and those of the paintings in this period. In the Qajar period, the painters have tended to face the idealism and lack of simulation. Therefore, it can be said that women in the paintings of this period are instrumental in expressing the glory of power and monarchy.
