A General Outlook on the Basics of Coloring in Traditional Iranian Arts (with Emphasis on the 4th to 6th centuries AH) [PDF]
هنر اسلامی, 2021 Colors have exceptional visual, semantic and mystical properties and are considered as the most significant tool for creating works of art. The concealed and inner meanings of colors in traditional coloring have remained unknown till today. In the art of
Arezoo Puriyay, Mahnaz Shayestehfar
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"Study of Urban Landscapes in the Paintings of Mahmoud Khan Malek al-Sho'ra with the Influence of Photography in the Second Period of the Qajar Era" [PDF]
نگره, 2022 During the Qajar period, one of the brilliant artists was Mahmoud Khan, the king of poets, who was one of the prominent masters in painting urban landscapes. His works have different backgrounds considering his time and he is known as one of the pioneers
Elaheh Panjehbashi
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Analysis of Blue-painted Horses in Iranian Paintings in the Tenth to Twelfth Centuries AH / Sixteenth to Eighteenth Centuries AD from the Point of View of Mysticism, Myth and Allegory [PDF]
نگره, 2023 Iranian painting, like an illustrated dictionary, provides a wide range of research and exploration in various fields for researchers. Horse paintings are among the most important thematic contexts of Iranian painting, which are illustrated in common and
Azar Bagheri +2 more
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Demonstration of the world of example and the real world influenced by painting in contemporary Iranian painting (a case study of the works of Mahmoud Farshchian, Iran Droudy and Mehdi Hosseini) [PDF]
پیکره, 2000 Problem definition: Iranian painting totally represents the world of exemplification. This is mainly due to the desire of past painters to discover and display this heavenly world through imagination and themes such as stories and narratives. The display
Mehrsa Taghizadeh momen +1 more
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A Study on the Tradition of Copying in Iranian Painting of the Transition Period based on the Concept of “Appropriation” [PDF]
نگره, 2023 Periods of Iranian painting, including realistic and academic painting, were postponed after the advent of modern painting in Iran. Copying the works of their predecessors, which was one of the prominent methods of these masters of painting, was highly ...
Ekram(noura) Goudarzi, Taher Rezazadeh
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The history of themes, subjects and visual structure of imaginary paintings (Khialinegari) in Iran`s art of Qajar era (According to written documents) [PDF]
هنر اسلامی, 2018 Khialinegari is an expression for describing a kind of narrative painting which has religious, heroic, epic, lyrical and popular content. It spread in Qajar era according to folk art and religious art while was impressed by the tradition of ...
Ali Reza Khajeh Ahmad Atari +4 more
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Comparative Study of the Symbolic Manifestation of the Cypress Tree in Literature and Iranian painting [PDF]
نگره, 2016 The Cypress tree is a symbolic element often used both in Persian literature (poetry) and Persian iranian painting. The main concern of this study is to find a relationship between the element of Cypress tree as used in the Persian literature and in ...
Niloofar Zandi, Fatemeh Safiri
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The Saqqa-khaneh Calligraphy-Painting Movement in Iran
BRAC, 2021 This article aims to describe the Saqqa-khaneh calligraphy-painting movement in Iran. This School was a significant movement in modern Iranian art that became influential in the formation of a modern approach toward prevailing traditional heritage. This
Saeid Zakeri
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A Comparative Comparison of the Images of the Demons by Mohammad Siah Qalam with Iranian Paintings (Miraj-nameh and Khavaran-nameh) [PDF]
هنر اسلامی, 2020 Throughout the history of Iranian painting, prominent figures have emerged that each had a significant role in the advancement of Iranian painting. Renowned painters such as Kamal-al Din Behzad, Sultan Mohammad, Reza Abbasi among others are notorious ...
Mohammadreza Khabiri
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Relationship between the Representative Aspects of Kamal-ol-Molk Style and 1380s and 1390s Iranian Painting Based on Wolfflin's Stylistic System [PDF]
پیکره, 2022 Problem Definition: Following the decline of the hegemony of modernism from the late 1370s, representational painting in Iran became the main focus of the painting productions of the 1380s and 1390s.
Hojat Allah Saadatfar
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