|
|
|
 |
Search published articles |
 |
|
Showing 2 results for Rooster
Mehdi Hosseini,
Volume 1, Issue 2 (4-2012)
Abstract
Rooster’s shape, form and outward appearance has become a symbolic emblem in many different cultures and has been chosen as a vehicle for mediating thoughts. Rooster is the symbol of courage, life struggle, justice (since it shares its meals with hens) and a manifestation of far – seeing in Egyptian world view. In Japan it is an emblem of praying. It is the symbol of sunrise and serves as a time reminder in almost every culture. Rooster is the symbol of chivalry, courage and dutifulness in Chinese rituals. The presence of rooster and hens in yard or garden declares the passion and joy of life and human beings become cheerful by seeing them. Many visual artists across the nations have always used this bird to create artworks. Painters and designers have produced splendid and varied examples of this fowl in their works and hence illustrated the beauty of this natural entity through their drawings and paintings. In this article some of these works are introduced and their structures and compositions are analyzed.
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.
|
|
