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ISSN: 2251-8630
 e-ISSN: 2251-9971
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:: Search published articles ::
Showing 2 results for Shakeri

Seyyede Fateimaeh Shakeri,
Volume 2, Issue 5 (2-2013)
Abstract

This article would survey the symbolism in those works which are paintings regarded to have religious contents and expression. Accordingly, the symbolism of three canvases of "The Last Supper", respectively by renaissance painter and inventor Leonardo da Vinci, surrealist painter Salvador Dalí, and contemporary artist Simon Patterson would be discussed. Across the history of painting the among the christion painters theme of The Last Supper has been always one of the most prominent and acclaimed subjects. There are many amazing symbols that are used to depict this historical-religious event which is in turn related to the Mass. As the title of "The Last Supper" conveys, it seems that the mentioned works have to obey the particular conventions dominant in the realm of religious pictures. With a comparative study of these three works one may infer that sometimes the religious theme becomes a subject matter for the artist to mediate the values dominant across his contemporary religious culture and yet to imply his worldviews and understanding through injecting indirect symbols to the work. Sometimes the artist even goes further and breaks down the theme in a way that it becomes an ordinary social theme. The situation is If this, then not only the theme but also the content would bear a new form and the artist, using the symbol in his work, gives a new manifesto about the religion in modern and contemporary societies. This article will compare three paintings of "The Last Supper" to discuss the vicissitudes of religious views and to argue that artists tendency to use religious symbols and their manner for expressing religious themes have been changed in the course of time.
Aysan Shiva, Mansour Hessami, Zahra Shakeri,
Volume 9, Issue 36 (11-2020)
Abstract

It is often thought that appropriation art doesn’t give rise to its traditional concept and place. Because there are secondary works in the world of visual arts that are taken from the original works. From a legal point of view despite their uniqueness, definite and certain material existence of these works, the situa­tion of the author is not very clear. “How can be explained the authorship relations be­tween the artist and his work in a work that a part of it (sometimes the whole work) has appropriated from another artist?” It is assumed that in all appropriation works the viewer and author are aware about the presence of the first creator in that art­work. This study is descriptive-compar­ative and interdisciplinary analysis. The research data are taken from the fields of contemporary arts, structuralism, intertex­tuality, and intellectual rights, and have been extracted and collected in the form of libraries and documents, and through the tools of taking notes and observing relevant sources and references. In this regard, exceptions of international legal systems and Intellectual property rights in Iran. At the end, some suggestions includ­ing preparing an art certificate has made to evaluate these types of works.


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