نوع مقاله : مقاله پژوهشی
نویسنده
دانشکده هنر و معماری، دانشگاه تربیت مدرس
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
In the 1340s, the abstract works of some modern Iranian artists, such as Faramarz Pilaram, established an unbreakable link with the Saqakhaneh school. The Saqakhaneh school, formed in the 40s and 50s following the policies of "returning to oneself," applied the term "neo-traditionalist" to works that, while homogenizing with the modern techniques of Western art, mixed with indigenous and national elements. Therefore, the reductionist stereotypes in interpreting Saqakhaneh's works, aligned with the representation of national identity, have created a positive necessity to reconsider the role of this school in countering one-dimensional perceptions of artwork.The purpose of this research is to explore how a representative analysis of the artwork can depoliticize the work, making it serve the prevailing political order at a historical moment. In this study, the difference between politics and the role of the work of art in relation to each of them, relying on Jacques Rancière's insights in this chapter, will be examined in a descriptive-analytical manner. We will realize that the impact of political art lies not only in conveying a message but also in dismantling the dominant semantic system, questioning the obvious, and creating new meanings and relationships between things. Based on these characteristics, political art opposes the police order, which represents a specific view of the work. In the next step, we will review the factors contributing to the formation of the Saqakhaneh school and the place of artworks within it. We will demonstrate that the extracted letters in Pilaram's calligraphy are an attempt to convey a visual message related to Islamic/Iranian mysticism in a 'new' form. This way, Iranian art can find a place in globalized art, showcasing the works of the Saqakhaneh movement luxuriously.
کلیدواژهها [English]
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