Expressing the aesthetic components of fiber art in the visual arts of the last 30 years of Iran

Thesis in Master of Handicrafts

Research in Handicrafts

Abstract:

Fiber art is the evolved form of modern tapestry in the world, over the centuries, Iranian artists along with artists from other countries have added to the glory and splendor of the textiles produced in the world, but now they themselves have become importers and consumers of that art-craft and in a wide range of forms. Its embodiment has taken on a dim and unprosperous presence. Fiber art as an art that has taken a visual and modern approach from a practical origin in the contemporary era according to the current requirements in Iran today, so introducing and achieving its position seems necessary and essential, in this research the aesthetic components of fiber art have been described and its place in the society and the relationship between artists and the artistic society has been explained. And it has been done with the help of spss and excel software. The results of the survey show that there is a serious challenge in the field of the above assumptions, and on average they consider fiber art to be mixed with technique and industry, and they definitely do not agree with this hypothesis, and its place is not known among the art community, and also considering the dynamic concept of art and the change of its concepts, they definitely do not consider traditional arts and handicrafts under the category of fiber art.

Key words: Iran, fiber art, textile art, Tapestry, modernism. Chapter 1. Research overview: Research overview: 11 statement of the problem, the necessity and importance of choosing the topic: Throughout history, fabrics and fibers are rich tools for decorating life and even after death, such as shrouds, coffin liners. Fibers can be considered as the first tools that humans learned how to work with by protecting themselves from natural disasters, for this purpose, they started cutting, sewing and weaving clothes, both in the form of plant and animal fibers, which continues to this day. At the end of the 19th century, with the progress and expansion of the scope of science in the field of art, industry and technique, against the thinking of mass production, followed by the discovery of the potential capabilities of machine art, it changed the way of looking at architecture-handicrafts and other arts, and with its development in the industry sector, it led to the birth of nanotechnoloigy, which influenced fibers and textiles. Fibers are the plural of the word "leaf" or string, which is a collection of linear and long chain molecules that are divided into natural and artificial.

Since all fibers have remained in the form of cloth from the past, and according to the ancient history of the art of textiles, the vast changes that have occurred in the texture of this branch in the past few centuries, especially in the middle of the 20th century, have expanded this art into a larger and wider group called the art of fibers, and in the definition In general, fiber art refers to all the works that are produced by humans with different methods and techniques (single-element, multi-element) with different approaches and new perspectives by means of fibers (natural, artificial) and can be defined and divided based on the means of artistic expression, or technical expression, or the expression of concepts. These works can be produced by the traditional method or break the boundaries and stand in front of any conventional order and law, and in fact, according to the purpose of the artist in presenting the work, it can go beyond the decorative and functional mode and take on a visual meaning, and because in some cases they are produced completely by hand or completely by machine, therefore, it consists of two parts: A - practical (hand, visual) and B - industrial (hand, visual)[1] which includes a carpet that The most important one is in Iran (due to the breadth of the above scope in the carpet sector and the many researches that have been done in this field, we will discuss it very briefly) - clothing (sports equipment, etc.) - furniture fabrics - tricot weaving - needlework - tapestry and arrangement. and in the industrial sector it includes nanotechnology and arrangement.

The art of fibers was originally mentioned as tapestry, the term tapestry was referred to fabric and embroidered wall hangings that were produced in the world from the 18th century to the middle of the 19th century due to the civil wars and the French revolution, the industrial revolution and the invention of the mechanical jacquard machine for weaving any patterned and patterned fabric such as curtains and furniture and the mass production of industries. It stagnated, but when the tapestry texture was mixed with modern art, it took on a new definition.It stagnated, but when the tapestry weave was mixed with modern art, it took on a new definition. In fact, fiber art is the evolved form of the modern tapestry movement in the world. Iran had many ups and downs and never managed to return to its peak years, but at the same time as the Second World War, a new era occurred in the history of contemporary art in Iran, the creation of workshops, schools and art schools, the trips of graduates to foreign countries had a great impact on its progress. The confrontation of artists with the latest western developments made them keep pace with the changes of the world to the extent that some of them identified their work by following the methods of academic art and the essence of traditional arts, holding exhibitions, art competitions as well as the presence of innovative artists contributed a lot to the promotion of this art to the point where we are witnessing a new season of the presence of textile art, which can be the background of fiber art in Iran, in recent years despite the hiatus in which It happened, with the establishment of exhibitions and the special attention of artists to modern art and its characteristics, which is actually far away from reality by relying on concepts that require the mind of the audience, with the help of which the artists of the new generation have transmitted their thoughts and opinions and by using that fiber art has expanded as a medium. The art of textiles is a precious heritage that has a special place in the history of Iran and is one of the original traditional arts that was and is the birth of the culture of the people of this border and region and has given a special identity to the national, historical and cultural symbols of Iran in the whole world. Considering this issue, one of the ways to prevent the erasure of originality and artistic cultural contexts is to recognize the greater capacities of this art by preserving Iranian traditions and its values ??in promoting this art. Maybe we can witness the emergence of a new trend in textile art in the 21st century in our country through it.

1-2 research questions:

Is the traditional arts of Iran a subcategory of fiber art according to the structural features, design and role in fiber art?

Is Iranian handicraft a subset of fiber art in the country? Considering the capabilities of the fiber art of this art, has it been a combination of art, industry and technique?

Has the art establishment in Iran, which includes: art critics, gallery owners, art collectors, art professors and art journalists, etc., who are actually considered part of the Iranian art community, been the main audiences of the fiber art?

1-3 research hypotheses:

The fiber art of Iran is a subset of traditional arts.

According to the definition of handicrafts and the possibility of mass production in Iran, it is a subcategory of fiber art.

Fiber art is a combination of art, industry and technique.

The main audience of fiber art is the art institution.

1-4 overview of the theoretical background and background of the research:

In this research, the aim is to introduce and achieve the status of fiber art as an art that has a practical origin, a visual and modern approach in Iran today. has taken up and examines the relationship between the artistic community and fiber art artists and the recognition of the capabilities of this art and its relationship with industry and technique, which has been tried to be addressed through face-to-face and telephone interviews and the amount of exhibitions held in recent years. The suitability of this thesis, its shortcomings and its reasons should be examined and an attempt has been made to evaluate the reasons for the lack of recognition of this field in the society.

According to this goal and to achieve the most suitable research, we will search for similar titles, and for this purpose, the following titles that are closer and more suitable in terms of the purpose of the research and its scope can be a good choice. Fibers in Iran from the Constitutional Revolution to the present"1, in which the historical process has been briefly examined with the aim of introducing the art of fibers and examining its various trends in the world in order to better understand the developments that occurred in Iran after the Constitutional Revolution until now. In this research, an attempt has been made to examine the effects of modernism art and the cultural, artistic, social and economic consequences that had caused radical changes in Iranian textiles.