CHANGING OF VISUAL APPROACHES IN SHAHNAMA (IN THE PICTURES SELECTED FROM SHAHNAMA PATRIARCH, BAISONGHOR, TAHMASP AND RASHIDA)

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MOGHBELI ANAHITA; JABBARI ENSIE

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Journal: Naghsh Mayeh Year:2013 | Volume:5 | Issue:16 Page(s): 23-34

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Information Journal Paper

Title

CHANGING OF VISUAL APPROACHES IN SHAHNAMA (IN THE PICTURES SELECTED FROM SHAHNAMA PATRIARCH, BAISONGHOR, TAHMASP AND RASHIDA)

Author(s)

MOGHBELI ANAHITA | JABBARI ENSIE | Issue Writer Certificate

Keywords

VISUAL APPROACHESQ2

SHAHNAMA PATRIARCHQ1

SHAHNAMA BAISONGHORIQ1

SHAHNAMA TAHMASPIQ2

SHAHNAMA RASHIDAQ2

Abstract

Throughout the art history, thinkers and critics categorize the variations occurring during the evolution of forming schools into different types. Margaret Finch, the art historian, considered four approaches in which some combinations of art and social interests are joined with visual features. The approaches entitled "ritual approach, emotional approach, classic approach and concrete approach". Each one of these definitions and approaches can govern an artist's works, attitude and view and affect his created work.Based on this study definitions given on each of the approaches, the browser is the question, how can this form of thinking based on the description, analysis and comparison of Iranian films in the history of a particular period pay?The hypothesis is verified, the comparative study of selected films in four Persian Book of Kings (Shahnameh Patriarch, Baisonghor, Tahmasp and Rashida), which are very common, some approaches have perpetuated over the centuries, despite changing political conditions social and cultural well-tells. Compared to the other four paintings with a common theme of "pulling the cord" in this epic from four different schools and get their visual similarities and differences of each approach emphasizes understanding the principles and interests of schools Khaskh painting of a theme pay be their main objective paper. The epic graphic image patriarch stressed the descriptive mode and display emotional aspects of descriptive and emotional approach emphasizes Baisonghor epic painter, with formal and regulated by the style typical of the classic art of painting in Iran makes sustainable future and ultimately, of ritual, of Tahmasp Shahnameh, with emphasis on color as an expressive element, using formal contracts, to have flourished in the Safavid era end of school in order to express aspects of observable effect, according to the terms of use and time, the objective approach makes manifest.The general approach used in this study, the comparison is based on the observation, analysis and thorough deliberation on the image and matching them together, done.

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APA: Copy

MOGHBELI, ANAHITA, & JABBARI, ENSIE. (2013). CHANGING OF VISUAL APPROACHES IN SHAHNAMA (IN THE PICTURES SELECTED FROM SHAHNAMA PATRIARCH, BAISONGHOR, TAHMASP AND RASHIDA). NAGHSH MAYEH, 5(16), 23-34. SID. https://sid.ir/paper/184078/en

Vancouver: Copy

MOGHBELI ANAHITA, JABBARI ENSIE. CHANGING OF VISUAL APPROACHES IN SHAHNAMA (IN THE PICTURES SELECTED FROM SHAHNAMA PATRIARCH, BAISONGHOR, TAHMASP AND RASHIDA). NAGHSH MAYEH[Internet]. 2013;5(16):23-34. Available from: https://sid.ir/paper/184078/en

IEEE: Copy

ANAHITA MOGHBELI, and ENSIE JABBARI, “CHANGING OF VISUAL APPROACHES IN SHAHNAMA (IN THE PICTURES SELECTED FROM SHAHNAMA PATRIARCH, BAISONGHOR, TAHMASP AND RASHIDA),” NAGHSH MAYEH, vol. 5, no. 16, pp. 23–34, 2013, [Online]. Available: https://sid.ir/paper/184078/en

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