STUDY OF TIME AND PLACE CONCEPT IN IRANIAN PAINTING

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GOUDARZI M.; KESHAVARZ G.

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Journal: HONAR-HA-YE-ZIBA Year:2007 | Volume:- | Issue:31 Page(s): 89-100

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Information Journal Paper

Title

STUDY OF TIME AND PLACE CONCEPT IN IRANIAN PAINTING

Author(s)

GOUDARZI M. | KESHAVARZ G. | Issue Writer Certificate

Keywords

TIMEQ2

PLACEQ3

IRANIAN PAINTINGQ2

PERSPECTIVEQ3

SPIRITUAL WORLDQ2

Abstract

According to philosophers, movement is the creation force behind two elements of TIME and PLACE. The root and essence of the first glance at TIME and PLACE in Islamic Iran arts as well as Ancient Iran has always been identical. Islamic mystics are of the opinion that the worlds of existence are sequentially divided into three main categories of rational, spiritual and sensible worlds. However, due to the fact that the SPIRITUAL WORLD is PLACEd between the two abstract (rational) and material (sensible) worlds, has both the material (visibility) and non- material characteristics (because of non- touch ability). From the viewpoint of being the cause of material world, the SPIRITUAL WORLD has always been the focus of attention as far as Iranian artist is concerned. Hence the theme of painting is the theme of SPIRITUAL WORLD. In depicting this spiritual theme, which is not, limited to material TIME and PLACE causes the painter to be able to observe one PLACE at a given TIME from various angles. TIME in this theme is the main cause for depicting all TIMEs (even night sceneries) in a monotonous and harmonious lighting. All elements and things are also depicted from a prefect angle as an exemplary representation of own species and are separated from physical and environmental effects of TIME and PLACE. TIME and PLACE are considered as two inseparable elements in realistic works of paintings. The fact that IRANIAN PAINTINGs are not confined to TIME and physical PLACE has provided the painter artist with ample opportunities to enjoy more creative means of self-expression. Hard roles of the material world in different realistic works of paintings prevent artists to describe all the scene qualities in their own way. They are limited by material roles so they miss a lot of details but SPIRITUAL WORLD and abstraction help Iranian painter to see the scene in different ways at the same TIME. Iranian painter firstly wants to point of the upper world by showing that abstract PLACE and describing its spirit. In this way, Iranian painter tries describing spirit and real life, showing a real scene on the spot by changing the seeing ways at the same TIME and showing more details not by immitating its physical presence such as an unreal PERSPECTIVE in a photograph. In IRANIAN PAINTING realization of object to materialistic and seeming object is'not enough for artistic work perfection and painter tries changing or leaving its presence. In Islamic though art is honour to material by explaining the material reality in SPIRITUAL WORLD.

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APA: Copy

GOUDARZI, M., & KESHAVARZ, G.. (2007). STUDY OF TIME AND PLACE CONCEPT IN IRANIAN PAINTING. HONAR-HA-YE-ZIBA, -(31), 89-100. SID. https://sid.ir/paper/5653/en

Vancouver: Copy

GOUDARZI M., KESHAVARZ G.. STUDY OF TIME AND PLACE CONCEPT IN IRANIAN PAINTING. HONAR-HA-YE-ZIBA[Internet]. 2007;-(31):89-100. Available from: https://sid.ir/paper/5653/en

IEEE: Copy

M. GOUDARZI, and G. KESHAVARZ, “STUDY OF TIME AND PLACE CONCEPT IN IRANIAN PAINTING,” HONAR-HA-YE-ZIBA, vol. -, no. 31, pp. 89–100, 2007, [Online]. Available: https://sid.ir/paper/5653/en

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