نوع مقاله : مقاله پژوهشی
نویسنده
استادیار گروه هنرهای تجسمی، دانشکده هنر و معماری، دانشگاه بوعلی سینا، همدان، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
In the tradition of Iranian painting, narrative patterns have been based on the most esteemed literary texts. The present research aims to analyze, identify, and delineate the narrative patterns in the works of pioneers of contemporary Iranian painting during the 1940s and 1950s, This theory comprises spatial point of view, temporal point of view, and psychological point of view. Accordingly, the research question is formulated as follows: How can the narrative patterns in the works of pioneers of contemporary Iranian painting be explained within the framework of Simpson’s “Theory of Point of View”? Employing a descriptive-analytical method and a comparative approach, this study examines selected works gathered through documentary and library research, as well as direct observation. Based on the findings and evaluations, the results indicate that the narrative pattern in the works of the pioneers of contemporary Iranian painting (1940s and 1950s) is primarily based on psychological point of view and distinct personal expression. This reflects a greater tendency among modernist Iranian painters toward technical and executive experimentation. The narrative pattern in the works of Jalil Ziapour, Javad Hamidi, and Ahmad Esfandiari exhibits a coherent narrative tone, emphasizing psychological point of view. However, this coherence, as a narrative model among other painters of these two decades, is accompanied by fragmentation and disjunction in the point of view.
کلیدواژهها [English]
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