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Amiraghaie, Mehrdad Ahmad
- Designs of Animals, Birds and Humans in Iranian Painting
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Authors
Affiliations
1 Research Center of Iranian Culturak Heritage, Handicrafts and Tourism Organization, IR
1 Research Center of Iranian Culturak Heritage, Handicrafts and Tourism Organization, IR
Source
Research Journal of Humanities and Social Sciences, Vol 7, No 3 (2016), Pagination: 154-162Abstract
The designs of human figures, animals and birds in visual arts of Iran has its particular characteristics in every era which results a certain shared cultural vision of the people of this land. For example in the cultural perspective of Iranian painting, the design of human body is very important. However, the artist never tries to make a real similarity of human visages and his greater emphasis is on a kind of human quality of visages. It also provides a partial understanding of each others assets. Application of animal's and bird's motifs, or different reasons such as their application in everyday life or in particular rituals and..., always has a special position in the visual arts of Iran and usually are divided into two kinds of creatures: good (pure), evil (bad) This paper is an attempt to identify the general features and characteristics of motifs of human, birds and animals in Iranian paintings associated with visual samples.Keywords
Iranian Painting, Designs of Human, Birds and Animals.
- Imagination and Imagery
Abstract Views :224 |
PDF Views:0
Authors
Affiliations
1 Department of Iranian Studies, Yerevan State University, Yerevan, AM
1 Department of Iranian Studies, Yerevan State University, Yerevan, AM
Source
Research Journal of Humanities and Social Sciences, Vol 5, No 4 (2014), Pagination: 379-383Abstract
Reality By this is meant outwardness and manifestation and it is among the concepts of artistic domain. Gnostics have given connotation of this term in respect of creation and universe (Corporal world , Celestial hieracly, and the word of superbness). It Is evident that what sets the ground in an artistic work for a manifestation of truth ,is the employment of imagination and imagery in this article we surver imagination and imagery in Iranian art.Keywords
Reality, Imagination, Imagery, Imaginal World Halo of Honor (Farrah), Light Angel.- Historical Pathway of Iranian Painting, (Methods and Era, Features)
Abstract Views :266 |
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Authors
Affiliations
1 Department of Iranian Studies, Yerevan State University, Yerevan, AM
1 Department of Iranian Studies, Yerevan State University, Yerevan, AM
Source
Research Journal of Humanities and Social Sciences, Vol 4, No 4 (2013), Pagination: 435- 442Abstract
Iranian painting that started its formation from of prehistorically, millenniums, continued its formation manner in historical era and Iranian Islamic era, because of having special characteristics, it can be divided in to two main branches.
• West branch with mutual relation with BYZANCE art.(East Roman Empire)
• East branch prevailed in Iranian east lands. Iranian painting can be in three eras but separated till end of GAGAARIEH dynasty.
1-The first centuries till Christian 13th century (Hegira 7th)
2-End of Christian 13th century (Hegira 7th) till end of17th century.
3-End of Christian 17th century (Hegira 11th) till Christian 19th century
(Hegira 13th)
The Iranian picture arts have special features to other western, for east and Indian picture arts. Those features that each of them need to study and separate survey, including
A- Cognitive feature
B- Attributive feature
C- Structure feature
D- Performance feature
E- Technical feature F- Symbolism (Esoteric) "Farrah. Light angel. Mandala".
Keywords
Iranian Painting, Feature, Main Branches, Cognitive, Attributive, Structure, Performance, Technical, Symbolism (Esoteric).- Image of Iranian Painting
Abstract Views :214 |
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Authors
Affiliations
1 The Research of Iranian Cultural Heritage, and Tourism, IR
1 The Research of Iranian Cultural Heritage, and Tourism, IR
Source
Research Journal of Humanities and Social Sciences, Vol 8, No 3 (2017), Pagination: 278-286Abstract
To study Iranian painting we should turn back to millenniums BC. The most important images of Iranian cavemen is related to a cave in Lorestan, West region of Iran, called “Myrmelas” in which designs of war, hunting, and human and animal figures were drawn on its walls.In the later stages, the visual arts of Iran slowly found special features including the tendency to decoration and attention to details, use of black lines on the margins of designs, creating symmetry in drawing and other symbolic motifs. Features that during the centuries caused the emergence of many different styles of painting. This paper is an attempt to comprehend techniques and styles of Iranian painting from the beginning up to the end of Ghajar’s period.Keywords
Iranian Painting, Ancient, Historical and Transitional Periods, Painting Schools.References
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