THE ORIGIN AND EVOLUTION OF CONCEPTS IN VISUAL SYMBOLS OF PALESTINIAN ART WITH EMPHASIS ON THE CONTEMPORARY PAINTING AND CACTUS MOTIF

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BAHARLOO ALIREZA; HASSANVAND MOHAMMAD KAZEM

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Journal: HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ) Year:2015 | Volume:20 | Issue:3 Page(s): 57-70

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Title

THE ORIGIN AND EVOLUTION OF CONCEPTS IN VISUAL SYMBOLS OF PALESTINIAN ART WITH EMPHASIS ON THE CONTEMPORARY PAINTING AND CACTUS MOTIF

Author(s)

BAHARLOO ALIREZA | HASSANVAND MOHAMMAD KAZEM | Issue Writer Certificate

Keywords

PALESTINIAN ARTQ2

SYMBOLQ2

CONTEMPORARY PAINTINGQ2

MOTIFSQ2

CACTUSQ2

Abstract

With the advent of Modernism in the West and the spread of its indirect influences in Eastern countries, especially those of the Islamic lands, the art of these societies - at least in form and structure– inclined towards Western movements and schools, however retained and continued their local values and traditions in theme. Meanwhile, the arts of Palestine, especially in the field of painting went on presenting the values and concepts by making use of SYMBOLism, an indispensable and fundamental essential in Islamic Art. These SYMBOLs which contain a wide range of things from objects, plants and animals to specific phenomena, are in some cases in conformity with the common themes and concepts, but sometimes come from the PALESTINIAN ARTist’s creativity and hence just belong to their own art. The reasons behind this matter have been the certain geography, political conditions and religious beliefs of the Palestinian. Here the motif of “cactus”, beside other SYMBOLic MOTIFS, enjoys certain characteristics, dimensions, background and specific expressive capacities which make it worthy of note and attention. The Palestinian painter makes use of this image in a number of certain ways. According to this fact, there are some questions here to present as these: What are the main SYMBOLs that are applied by the Palestinian painter in his art.Art they represented alone and in combination with each other? What factors or events have had great influence on Islamic art in Palestine in recent decades. What are the SYMBOLic concepts of “cactus motif” in the contemporary Palestinian painting and how this matter is expressed in the Israeli art? How is the way of representing this SYMBOL in CONTEMPORARY PAINTING and to what extent is its originality. The results of the research express that CACTUS image from the time of the appearance of Israel has been present in PALESTINIAN ART as a motif and even more than that, as an evolving SYMBOL. The Palestinian has regarded that as an embodiment of the withdrawal of national ownership and the confiscation of their possessions. But the significance of this plant has gradually been taken by the Israeli as a name given to this newborn child in Palestine that is in fact considered a kind of appropriation and seizing the traditions. By studying and observing the Palestinian paintings, we can also infer that other MOTIFS, apart from the CACTUS, with specific connotations, are usually used in combination with related SYMBOLs in a group. Meanwhile there are some specific MOTIFS which convey spiritual meanings.These MOTIFS are somehow limited and devoted to the PALESTINIAN ARTist with his certain ideology the examples of which are as follows: kefeyya, martyr, peasant, wedding, Jerusalem and, of course, CACTUS. All these MOTIFS generally and basically convey humanistic and high values such as freedom, resistance, peace, hope, homeland, friendship, etc. This research is done in historical, descriptive and analytical method.

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APA: Copy

BAHARLOO, ALIREZA, & HASSANVAND, MOHAMMAD KAZEM. (2015). THE ORIGIN AND EVOLUTION OF CONCEPTS IN VISUAL SYMBOLS OF PALESTINIAN ART WITH EMPHASIS ON THE CONTEMPORARY PAINTING AND CACTUS MOTIF. HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ), 20(3), 57-70. SID. https://sid.ir/paper/146711/en

Vancouver: Copy

BAHARLOO ALIREZA, HASSANVAND MOHAMMAD KAZEM. THE ORIGIN AND EVOLUTION OF CONCEPTS IN VISUAL SYMBOLS OF PALESTINIAN ART WITH EMPHASIS ON THE CONTEMPORARY PAINTING AND CACTUS MOTIF. HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )[Internet]. 2015;20(3):57-70. Available from: https://sid.ir/paper/146711/en

IEEE: Copy

ALIREZA BAHARLOO, and MOHAMMAD KAZEM HASSANVAND, “THE ORIGIN AND EVOLUTION OF CONCEPTS IN VISUAL SYMBOLS OF PALESTINIAN ART WITH EMPHASIS ON THE CONTEMPORARY PAINTING AND CACTUS MOTIF,” HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA ), vol. 20, no. 3, pp. 57–70, 2015, [Online]. Available: https://sid.ir/paper/146711/en

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