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JIC 2017, 1(1): 1-10 Back to browse issues page
A comparative study and analysis of "subject" in the works of Hossein Behzad and Mahmoud farshchian
Abstract:   (1179 Views)

Modern Iranian painting in its historical genealogy, the similarities and differences relative to other traditional schools of Persian painting and contain functions and concepts of its own.

In this regard, works by Hossein Behzad and Mahmoud Farshchian, as two of the most prominent contemporary painters, a clear example of creativity and innovation in the structure and, in particular, are the themes and topics of Persian painting.

      The first problem in this study, " Subject Classification " of Hossein Behzad and Mahmoud Farshchian's works and then has been a comparative study and analysis of "subject" in works of these two artists. The purpose of this article has been Clarification of how to use these two artists and Common Subjects and differences of the works of these two artists in "Subject Classification".

In this the theoretical paper that to descriptive and analytical method is performed, an attempt to library information and documents and field, Meanwhile explaining the importance of subject in the Iranian painting, works of these two artists set about " Subject Classification "is that it contains" class "," standard "and" standard samples "in throughput, then to extraction Thematic categories, The work of these two artists has been the subject of comparative and analytical.

     Based on the findings of quantitative and qualitative information,Taking advantage of the fifteen joint class, especially quantitative use of subjects "lyrical", "literary" and "social" sharing " subjects " the two most prominent contemporary painter.

The works of both artists are the common thread, but in effect that is the subject of artistic expression, differences are apparent.

In terms of quality, utilization and themes expressed need, for example, natural and allegorical works farshchian class Behzad works on the same subject, distinction is fundamental.

Also farshchian's natural works addition to the funds, has once allegorical and symbolic, and often humanitarian issues implicit in them. However, in the works Behzad, the audience is more the expression refers to all natural or animal anatomy or anatomy beauty and it has been raised.

Also, with meditation and reflection on the work of Hossein Behzad, can be found in most books, topics, from each hand and each category has been the phenomenon of horizons and outside actors, have been referred, the stories and topics exterior, has been independence and originality.

Even Behzad's philosophical works, often based on literary topics, namely Behzad person is not in position of thought and philosophy, but farshchian frees itself from the tyranny of literature. Precisely this is why the themes and topics "lyrical", "moral" and "ethical" a serious and lofty position in the classification table are subject farshchian's works.

Additionally, farshchian's works in quantity, quality and how to express the theme, Away from literature, introspection and invent new themes have differences to Hossein Behzad's works.

Keywords: contemporary Iranian painting, Hossein Behzad, Mahmoud Farshchian, subject
Full-Text [PDF 2257 kb]   (737 Downloads)    
Type of Study: Research | Subject: Special
Received: 2017/05/16 | Accepted: 2017/05/16 | Published: 2017/05/16
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A comparative study and analysis of "subject" in the works of Hossein Behzad and Mahmoud farshchian. JIC. 2017; 1 (1) :1-10
URL: http://jih-tabriziau.ir/article-1-37-en.html


year 1, Issue 1 (Vol.1, No.1, Autumn-Winter 2017) Back to browse issues page
هنرهای صناعی اسلامی Journal of Islamic Crafts
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