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Showing 2 results for Nationalism
Kheyzaran Esmaeilzadeh, Parisa Shad Ghazvini,
Volume 7, Issue 28 (12-2018)
Abstract
Landscape and building-painting as a genre is one of the many features of Iranian painting in the last years of the Qajar and the first years of the Pahlavi era. This paper explains the relation between these painting as the particular, following the domination of the discourse of nationalism as the general. To reason this idea and to explain the relationship between these two, Georg Lukács theoretical method is used to link the “totality” and mediations”. Hypothesis of the article is based on the texts of two books, Nameh Khosravan by Jalal-o-Din Mirza and Asar-e-Ajam, by Forsat Shirazi, in addition to publication of a large number of “travelogues” of western travelers who visited Iran in Qajar period. These works in terms of their subject as “Recognition and Exploration of Iran” which was based on the compilation of new archaeological documents can be assumed as “mediations” inside a general discourse called nationalism which attracted the attention of painters to the issue of their homeland and its landscapes. The purpose is to clarify the social historical context of the topographical paintings during this period and to illustrate the transition path from nationalism to topographical paintings by utilization of these mediations.
Aliasqar Fahimifar, Rasool Eskandari,
Volume 13, Issue 50 (5-2024)
Abstract
This article is about the relationship between socio-political developments and modern art in Iran from 1941 to 1953. After the abdication of Reza Shah, cultural policies were based on cultural nationalism discourse on the one side, and on the other side on the ideology of Marxism. From the early 1940s, another type of nationalism which was influenced by the nationalization of oil industry emerged in Iran. This new discourse is known as liberal nationalism. The authors believe that no comprehensive research has been done regarding the relation between nationalization of oil industry and artistic works and movements in the history of contemporary Iranian art. Therefore, the main problem of this article is the lack of attention to the mentioned relationship. Research issues have been analyzed by studying the rooster as symbol, as well as the formation of Khorous Jangi movement and Apadana gallery, which started working at the same time as the National Front. Therefore, the question is how the nationalization of oil industry affected the formation of movements and works of arts. The results of this research indicate that the coincidence of the movements and works of arts with the formation of National Front is not accidental. In other words, Khorous Jangi and Apadana, as pioneering artistic movements influenced by the discourse of the National Front, intended to create a national art in accordance with Iranian identity. In fact, the artist reacted to the political and social developments in accordance with his knowledge and social position as well as aesthetic attitude. The research method is descriptive-analytical and the collection of data is based on library references.
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