Master's Thesis
Traditional drawing and painting trend
Abstract
The purpose of this research is to know the elements of light and color in contemporary Iranian painting and the pathology of the elements of painting art in reflection and influence from Western art, especially in the use of light and color elements. In this context, the works of five prominent painters: Hossein Behzad, Mahmoud Farshchian, Mohammad Bagher Aghamiri, Majid Mehrgan and Ardeshir Meghrad Takestani were investigated. In terms of the fundamental purpose and tools used to gather information, in addition to document study, this research is an interview with several of the aforementioned painters.
Using document study, first the place of light and color in Iran's Islam, literature, mysticism and painting was examined. Then the influence of the West in Iranian painting - from the Safavid period to the present day - was pointed out, and at the end, using the descriptive-analytical method, the recognition of color and light in the works of five named painters was discussed.
Key words: landscapes and mirrors, color, light, mysticism, contemporary painting
Introduction:
Light plays an important role in Iranian art before the arrival of Islam. In Zoroastrian, Mazdakian and Manichean culture, light is an element that gives existence, from which all beings gain grace and continue to grow and move. In this culture, Ahuramazda represents infinite light and color, the first daughter of light. After the arrival of Islam in the land of Iran, Islamic thinking caused the evolution of culture and art. In Islamic thinking, light is like truth and is considered a symbol of goodness, purity and goodness. Also, the discussion of color has a very special place in this holy tradition and it is mentioned many times in the Holy Quran.
In the 6th and 7th centuries of AH, Sheikh Shahabuddin Suhrawardi, Najmuddin Kobri and Najm Razi discussed the concept of light and color in their Islamic belief. As the influence of these thoughts is well known in the art of the Iranian artist and "in his work, the painter draws an imaginary world, without shadows and drowned in light, and the colors in the painting are not subservient to the colors of the material world, they are the narrator of another world and beyond" (Khoshnazar and Rajabi, 1388a, 70).
Another effect that can be seen in the art of contemporary Iranian artist It is the influence of Western thinking. The influence of this thinking on Iranian art began when Europeans returned to Iran. The thought of the Iranian artist took on the aspect of materialism and moved away from spiritual thinking. The reflection of light was also changed by the Iranian artist and became a point. Color no longer had its former brilliance and was mostly used to evoke the material world.
In recent decades, artists rose up and revived Iranian art in different ways and with their sacred suffering. For sure, professors such as Hadi Tajveidi, Hossein Behzad, Haj Hossein Musarul-Mulki, Abu Talib Moghimi, Mohammad Ali Zawiya, Ali Mati, Mahmoud Farshchian, Hoshang Jezizadeh, Mohammad Baqer Aghamiri, Abbas Jamalpour, Majid Mehrgan, Ardeshir Mejar Takestani and others. They are one of the lasting, precious and precious figures of contemporary Iranian painting art, who have a great contribution in reviving and renewing the greatness of this art. As this Iranian art can be seen in their works. Of course, some have mistakenly thought that the artists of the Saqaqhana school are the inheritors of this art, which is briefly mentioned in this thesis.
The first chapter of this thesis, entitled "Generalities of Research", deals with the theoretical literature and the necessity of research, and the objectives of the research also determine its direction. The second chapter with the title "Review of color and light in Iranian Islamic painting" first refers to the theoretical foundations of essential words and then color and light in the Qur'an, the sayings of religious elders, Ishraq Suhravardi school, Najmuddin Kobari and Najm Razi's school of Kabrouye, and then color and light in Iranian literature are studied. The third chapter, with the title "Painting developments after the middle of the Safavid era to the present day", examines the developments of painting from the middle of the Safavid era to the modern era and refers to the emergence of the Mustarfa school and the role it played in these developments. The fourth chapter, with the title "Recognition of color and light in the analysis of the works", analyzes two interrelated components, namely color and light, in a number of works by Hossein Behzad, Mahmoud Farshchian, Mohammad Baqer Aghamiri, Majid Mehrgan and Ardeshir Mejard Takestani.The analysis of the works in this chapter is done through interviews with several artists and it is hoped that this research will be useful.
Chapter 1: Generalities of the research
1-1 statement of the problem
From the point of view of physics, "light" is electromagnetic waves (solar energy) that has a wavelength and There are visible and invisible spectra (Bragg, 1362). In the eyes of Western (classical) painters, light is a physical element that they use to show objects immersed in darkness. But in the view of the eastern artist, all objects are immersed in light and there is no single source of light.
According to the Iranian Islamic painter, every object benefits from the abundance of existence because God is the absolute light of the sky and the earth; [1] and from the perspective of Muslim mystics, like Rumi, they interpret light as follows:
Whoever is struck by the conquest of the Bab, let him see sunshine in every particle
Farsh Dawlat Ra and Farash Ra
Molvi
In Islamic art, colors are a way and a means to show light. In the eyes of Iranian painters, color has a subtle connection with the realm of the realm, as they have tried to have a close connection with the realm of the realm by means of colors and getting to know the worlds of light (Aitollahi, 1377).
Just as the study of light and color in Europe first covers the fields of philosophy, science, and physics, then enters the valley of art and aesthetics, in the world In Islam, the study of light and color includes scientific, religious, mystical and aesthetic fields. With the difference that the study of light and color in all areas is under the control of Islamic wisdom and it is simply not possible to separate these areas.
Another issue that is brought up is the time when the Europeans arrived in Iran, which influenced the thinking of Iranian artists, and this influence continued in many historical periods until the present time, with the advancement of technology and easy communication with Western countries, it led to a significant impact in all areas, especially in Iranian painting. (Hafez, 1384, 539)
In contemporary art, the worldview of Iranian artists changes, and in the painting of this period, color becomes more tangible and light is concentrated. This is the reason why it has moved away from the symbolic, secret and truth foundations and becomes a means to show complications.
But it is obvious that the works of distinguished painters of this country have not been influenced by the western worldview, and the color and light in the works of contemporary painters are a combination of traditional and western colorism, hence the need to investigate and recognize this characteristic is the main problem of the research. Therefore, examining the works of five prominent painters of Iran: Hossein Behzad, Mahmoud Farshchian, Mohammad Baqer Aghamiri, Majid Mehrgan, Ardeshir Mejard Takestani can shed light on many values ??of contemporary Iranian painting art.
Is the concept of color used in the East and the West with the same motivation and perspective?
Are light and color used in the works of five contemporary painters, as in the works of traditional painters?
What is the quality of the use of light and color in the works of the mentioned masters?
1-3 hypotheses
According to the background and theoretical literature of the research, in response to the questions raised, hypotheses are presented which are:
The use of light and color in contemporary painting is different from the concept of light and color in traditional Iranian Islamic painting.
It seems that the difference in the essence of light and color in contemporary painting is influenced by the elements of Western art and influenced by traditional painters.
The works of the mentioned professors took place in several stages - which are the result of their experiences - and all of them have traditional and Iranian-Islamic components. Some painters have also used the western element in their works. 1-4 Objectives and application of research results This research is fundamental in terms of its purpose. Fundamental research has been searching for the discovery of facts and realities and knowledge of phenomena and objects, which develop the boundaries of human knowledge and discover scientific laws (Hafez Nia, 2017).