Art
Azadeh Pashootanizadeh
Abstract
There is always a spiritual and intellectual power in primeval art which connects our world with supernatural world. The foundation-stone is agricultural lifestyle and farming archetypes in Iran ancient civilization; so, enrichment subject-matter or enhancement idea is a fair question for ancient culture. ...
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There is always a spiritual and intellectual power in primeval art which connects our world with supernatural world. The foundation-stone is agricultural lifestyle and farming archetypes in Iran ancient civilization; so, enrichment subject-matter or enhancement idea is a fair question for ancient culture. The generative idea plays a vital role that is connected with goddesses. These forms, shapes and metaphysical functions of goddesses are composed of natural elements like: The Zodiac (Stars), plants, animals or music instruments. The Iranian goddess named Anahita/ Nahid, is the symbol of generative idea and the kingdom of Seas. People regarded goddess of the waters/Nahid as very respectable and many Temples are built for her by people. They gave gifts to her temples. Gifts were the valuable works of art having some pictures of Nahid on them. These images showed her supernatural tasks inspired by religious texts and books. So we have reviewed religious literatures of Iranian Ancient centuries. If we pay attention to these ancient texts, we do not make mistakes in our interpretation from Nahid's image. Research method of the current study is based on library and documentation from works of art using comparative study of art. The author tried to find points of similarity between Anahita and other goddesses in matriarchal and ancient civilization, and illustrate and analyze the roots of their shapes for finding common denominator. We can see their pictures and mutual effects in art.
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.
Art
Azam Ravadrad
Abstract
This article is written from sociology of art point of view. The role of social factors influencing people to become artist is an important issue in this field. One of these social factors is one’s gender which is studied here. In this article, female artists are studied in terms of their appearance ...
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This article is written from sociology of art point of view. The role of social factors influencing people to become artist is an important issue in this field. One of these social factors is one’s gender which is studied here. In this article, female artists are studied in terms of their appearance in different artistic fields. The main factor important in this appearance is considered to be gender. The question is whether or not the number of women artists has increased recently? The second question is whether or not the presence of women artists in different artistic fields is the same? Research method for this study is documentary and many pieces of research are used in order to collect data. These include works previously done on different artistic fields in Iran comparing the number of men and women active in each artistic field in different periods of time. The findings show that first the number of women artists has increased and second this increase has not been the same in different artistic fields. Based on findings of the article, the population of women directors in film industry and in theater in Iran is much smaller than other fields. Instead, the population of Iranian women painters, musicians and writers is bigger than other fields. The question raised here is if there are social factors which influence men and women doing different artistic activities with different degrees of competence. The article discusses that the main reason contributing to increase of the number of Iranian women in some artistic fields is the possibility of doing those artistic activities in private locations and by oneself; in contract, their number decreases if they require to work outdoor and in group situation.
Art
Fatemeh Shirazi; Zeynab Saber; Mohammad Reza Hassani
Abstract
Since the eighth century, much attention has been given by painters to Khamseh works due to its romantic and lyric stories. Female is a heroine who plays a significant role in most of Khamseh works showing its contributions to Nezamis works. Unlike common negative view about women in society, Nezami ...
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Since the eighth century, much attention has been given by painters to Khamseh works due to its romantic and lyric stories. Female is a heroine who plays a significant role in most of Khamseh works showing its contributions to Nezamis works. Unlike common negative view about women in society, Nezami considered a high social level for them. In different periods, these stories, especially Lily and Majnoon, Khosrow and Shirin and Haftgonbad Bahram'gour in which women’s presence is highlighted, have received much attention from painters. The current study reviews the images of women in the Khamseh during different periods. In the present study, the female representation in Khamseh works has been investigated based on Berlas Khamseh (ninth century) according to Bordio’s art sociology. The conclusion is that females views are more affected by public society and public culture in Berlas Khamseh due to Behzads artistic style and his attention to social realism.
Art
Soheila Sadeghi Fasaei; Shiva Parvaei
Abstract
Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary ...
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Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary world are presented in Asghar Farhadi’s movies. This question has been raised within a representation approach. In terms of methodology, qualitative content analysis with an inductive approach has been applied to identify overt and covert themes in the selected movies. Findings suggest that three selected movies represent women in categories such as: modern woman entangled in tradition; conflict between liberation and dependence; deceit and secrecy; being subjected to violence in gender relations; oppression by the presence of male domination and psychological insecurity. Eventually, these categories create a core category called “Woman between Dialectics of Tradition and Modernity".
Art
Roshanak Davari; Farideh Talebpoor; Abolghasem Dadvar; Reza Afhami
Abstract
Sustainable purchasing and consuming clothes is a massive trend worldwide due to the great amount of production, its complications and also the active role of women. It is specifically so among young population of Iran, though the country is moving towards sustainable development. This article aims to ...
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Sustainable purchasing and consuming clothes is a massive trend worldwide due to the great amount of production, its complications and also the active role of women. It is specifically so among young population of Iran, though the country is moving towards sustainable development. This article aims to investigate the degree of awareness of the notion of sustainability and its impact on the purchase and consumption of clothing, among the young educated female consumers. The research is based on descriptive and survey method with questionnaire based data. The statistical population is (N=100) female students of BA and MA courses in textile, fashion and industrial design with 20-35 years of age and sample size of 80 students. 30 questions with quintuple Likert and 0.735 Cronbach’s alpha are being asked. The analysis is done by statistical software. The results show that while there is a great trend of sustainable purchase and consumption, there is no enough awareness of this issue in the section. The knowledge of interviewees about sustainability is about the routine environmental issues; even some anti-sustainability approaches are clearly seen in this case, which necessitates a more extensive and precise consciousness-raising. Raising awareness and information about sustainable purchase and consumption within the consumer population, as future professionals of clothing industry, can guide it towards better planning sustainable based strategies in production, purchase and consumption.
Art
Maryam Rafatjah; Niloofar Hooman
Abstract
This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and ...
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This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and John Fiske’s semiotic analysis in three levels of reality codes, representation and ideology, Esterahate Motlagh and Nahid movies have been analyzed and evaluated. The results showed that: 1. Both films have the three- part narrative structure, 2. The story take places in an urban space, 3. the crises that divorced woman face 4. Tactful woman is the most important type in both movies 5. Showing patriarchy, wise woman versus irrational man and the predominance of evil over goodness, are the most important ideological issues which have been mentioned and portrayed in the movies.
Art
Mahnaz Shayeste Far; Mahbobe Shahbazi
Abstract
The remained visual sources of Qajar art works can be studied as one of the referable, valid evidence for identifying thewomen's roles and identity during this period. For this purpose‚ the illustrations of the Arabian Nights manuscript by Sani Al-Molk is considered as one of the references recognizing ...
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The remained visual sources of Qajar art works can be studied as one of the referable, valid evidence for identifying thewomen's roles and identity during this period. For this purpose‚ the illustrations of the Arabian Nights manuscript by Sani Al-Molk is considered as one of the references recognizing the womanʼs presence during Qajar period. This masterpiece has some exclusive features distinguishing the collection from the similar ones made in the same period including the painterʼs use of social sources and contemporary real persons and places for drawing the illustrations. The study aims to describe the women's social status in the Qajar era‚ using the itineraries and other written sources‚ and compare it with the pictures of the collection. This paper which is based on the documented studies, focuses on the paintings which show woman’s stronger attendance. According to the findings of this paper‚ Sani Al-Molk did not absolutely apply the social sources of his age for picturing the women at his manuscript.
Art
Forough Khabiri; Ali Sheikh Mehdi
Abstract
This study concerns to analyze femininity identity by psychoanalysis approach of Lacan. Psychoanalysis is certainly one of the most areas of debate within feminist artists. The main question of this research is: “How does video art show the femininity identity?” So, initially we tried to ...
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This study concerns to analyze femininity identity by psychoanalysis approach of Lacan. Psychoanalysis is certainly one of the most areas of debate within feminist artists. The main question of this research is: “How does video art show the femininity identity?” So, initially we tried to categorize different influential concepts of Lacan’s psychoanalysis which is necessary to get to know his attitude about gender. Video art is one of the new media arts born after World War II. Video is a medium which come to challenge other media in different subjects. In this research, we have explained how video art has tried to show the femininity identity in contrast with the other media like cinema and television. The main concern of this study is exploring the ways in which female identity is constructed and mediated through the art of video art. Therefore, some videos have been analyzed according to Lacan's theory. In this way, a women video artist Pipilotti Rist (1962) has been selected. Rist made lots of works about the female body by concentrating on color and sound. I'm not the girl who misses much, Ever is over all, I couldn't agree with you more and Be nice to me are the videos analyzed by Lacan theory about gender identity in the article. By analyzing her, it can be known that video art changes the position of women and it changes the language and structures of dominant display.
Art
Azadeh Alipour Heriss; Abolghasem Dadvar
Abstract
Several factors influenced on the presence of women in the Pahlavi era. In the new structures after the constitutionalism and along with modernism of Pahlavi, court became to the government and political figures changed to the people. In this era, the role of women in sexual approach, their changed from ...
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Several factors influenced on the presence of women in the Pahlavi era. In the new structures after the constitutionalism and along with modernism of Pahlavi, court became to the government and political figures changed to the people. In this era, the role of women in sexual approach, their changed from a class-in-itself to class-for-itself. The outgrowth of social backdrops caused that we can see a more active presence of women in second Pahlavi era compare to past periods in painting; accordingly the history of Tehran art galleries from 1949 until 1979 B.C and their activities corroborated this. Study of social backdrops that moved these women from marginalization to mainstream is the purpose of this article and it’s an attempt to answer the question what social backdrops influenced on increasing the presence of painter women in Pahlavi era? In this study, collecting of contents is based on libraries and field research and written on comparative, descriptive and analytic method and cultural and social backdrops of women painter of Pahlavi era. We can understand that the presence of supporter man in family, learning, social class, urban life, spreading culture in public trough medias and cultural institute, legal and natural presence of queen, the supports of government and cultural politics, social movements of women and change of women role in 20 century, had a effective role in rise of painter women of second Pahlavi era.
Art
Alireza Taheri; Batool Maazallahi
Abstract
Sections of history were unsaid because they happened beside facts. In these situations, minds were attracted by what is visible. As a result, few facts were ignored. In many of sources that considered Fath Ali Shah`s iconography, his intense tendency toward using jewelries or attention to appearance ...
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Sections of history were unsaid because they happened beside facts. In these situations, minds were attracted by what is visible. As a result, few facts were ignored. In many of sources that considered Fath Ali Shah`s iconography, his intense tendency toward using jewelries or attention to appearance defined as his diplomatic policies toward foreigners. This note has a considerable place in art studies that no one wants to analyze it. In a comparison which is performed between the paints of harem women and Fath Ali Shah`s iconography, there were some similarities that highlight womanly tastes effects on these habits. Therefore, present research considers harem and its effects on Fath Ali Shah`s taste and introduces these effects by using historical-descriptive approach. View of this article is new in art studies and this is a one of important points of this research.
Art
Hadi Khaniki; Mozhagan Farahani
Abstract
Regarding to the theories of power, a number of scientists believe that power is general exercised across the society through the “contextual” mechanisms. The present study aims to identify the contextual mechanisms which allow gendered power. The present study addresses the issue of how ...
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Regarding to the theories of power, a number of scientists believe that power is general exercised across the society through the “contextual” mechanisms. The present study aims to identify the contextual mechanisms which allow gendered power. The present study addresses the issue of how movies toward the subjugation of women and the strengthening of the masculism discourse. Also, this study examines how women’s’ counter discourse disrupts the pattern of power enacting. For responding to studies question gendered power is evaluated and interpreted using critical discourse analysis and Pelgi and Wodak combination approach as well as the theories of Bakhtin, Althusser, Žižek and Julia Kristeva and their most important concept such as discourse struggle, subjectivization through interpellation, fantasization, and contamination in two films of Tahmineh Milani and Rakhshan Banietemad. Findings show that the films of Tahmineh Milani are Texts of monophonic and power exerting is unilateral and it is from masculism discourse. The mechanisms of power exerting is used by masculism discourse for acts of domination. The films of Rakhshan Banietemad are texts of polyphonic and all discourses can speak. Also, Power is distributed among them. All the discourses use mechanisms of power exerting and women have resisted opportunities.
Art
Maryam Ansari Yekta; Rezvan Ahmadi Payam
Abstract
The clothing of women depicted by artists under Timurid and Safavid dynasties is well represented in the surviving illustrations of Shahnameh Baisonghor and Shahnameh of Shah Tahmasp. A descriptive-analytical survey of the related historical documents and a comparison of the illustrations of these two ...
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The clothing of women depicted by artists under Timurid and Safavid dynasties is well represented in the surviving illustrations of Shahnameh Baisonghor and Shahnameh of Shah Tahmasp. A descriptive-analytical survey of the related historical documents and a comparison of the illustrations of these two Shahnameh books will contribute to answering the following questions: from which aspects do the representations of the clothing of women in the two books conform to each other? What was the function of ornament in the women's clothing under Timurid and Safavid dynasties? The clothing of women over these two periods can be classified into three main parts, namely, head-wear, body-wear, and leg-wear. In general, representations of women's clothing in the two books are based on three features, i.e. ornamentation, the social status of women, and necessity of hijab. These features were realized in each book according to the governing norms as well as the individual taste of the illustrators. What is common between the two periods is the high regard in illustrations for women of all social strata in order to foreground their importance in the society.
Art
Elahe Shahrad
Abstract
With the advent of Ilkhan (Mongols) in Iran, the art of illustrating book was officially formed and, from this period onward, this art prospered. Great Mongolian shahnameh, the painting masterpiece of Ilkhanid era, was illustrated in Tabriz as the first courtly illustrated edition during the time of ...
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With the advent of Ilkhan (Mongols) in Iran, the art of illustrating book was officially formed and, from this period onward, this art prospered. Great Mongolian shahnameh, the painting masterpiece of Ilkhanid era, was illustrated in Tabriz as the first courtly illustrated edition during the time of Abu Sae'd Bahadorkhan; gradually afterward, other illustrated editions of Shahnaneh came into being. The purpose of this paper is to identify the social dimension of the great Shahnameh, and in particular the role and place of women in the pictures. The Author, using sociological approach, seeks to explore how art has reflected society. According to different adventures of this Shahname, 58 pictures of Shahnameh have remained that are scattered in museums and collections around the world. In this regard, 52 pictures of this Shahnameh are analyzed by analytic-descriptive method. Analysis tool is reflection theory in sociology of art. According to findings of the research, as women in Il Khanid era have special position and standing in the history of Iran, such that this era is known for equality of men and women, women are seen impressively and distinctively in pictures as well. These appearances in scenes with courtly themes are highlighted and the way of women's appearance in pictures is consistent with their life style. Thus, once again it's clear that the art works as a product of social values and beliefs are associated with their time.
Art
Seyedeh Razieh Yasini
Abstract
This article is a study on the religious approach of pre-Safavid Iranian Muslim miniaturists to female depiction based on Quranic verses and other religious narratives. This article is to find the way of visual reflecting female admired qualifications based on Islam view at original and novel miniatures. ...
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This article is a study on the religious approach of pre-Safavid Iranian Muslim miniaturists to female depiction based on Quranic verses and other religious narratives. This article is to find the way of visual reflecting female admired qualifications based on Islam view at original and novel miniatures. Assuming that mentioned visual reflection is based on Quranic and religious narratives or Hadiths which have been a source revelation for that era outstanding miniaturists, the theoretical literature of this paper is mentioned religious texts which have been analyzed based on this approach. The analysis of these works shows that image of female at original Persian miniature masterpiece and outstanding master works, before affecting by Western art effects, describing a position and stance for female existence which is compatible to religious and Quranic teachings. Based on this approach the Muslim miniaturists managed to depict divine mercy and beauty with coverdness in depicting women and protect the women sanctity even at depicting most private interactions of women. Scrutinizing at bushfully depicting women by referring to old and original miniature works which can help in managing the complexities of this issue in current Iranian media and visual productions is the contribution of this paper.
