Volume 7, Issue 13 (9-2017)                   مطالعات تطبيقي هنر 2017, 7(13): 15-32 | Back to browse issues page

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Mafitabar A, Kateb F, Hesami M. Study of Four Persian Paintings of Qajar Era according to the visual perception theory of Ernest Hanes Josef Gombrich’s (Case study: “Farhad carries Shirin’s horse on his back”). مطالعات تطبيقي هنر. 2017; 7 (13) :15-32
URL: http://mth.aui.ac.ir/article-1-683-en.html
1- PHD candidate in Research of Art, Alzahra University, Tehran, Iran , a.mafitabar@student.alzahra.ac.ir
2- Associate Professor, Art Faculty, Alzahra University, Tehran, Iran
3- Associate Professor , Art Faculty, Alzahra University, Tehran, Iran
Abstract:   (1873 Views)
The perception and interpretation of artworks take place in an interactional process so that it is not possible to separate one from another. A scientist like “Ernest Gombrich” propose this issue to refute the visual perception theory. From this point of view, one should be able to recognize the oneness of the themes in representative works of art that have a similar theme, regardless of differences in style personal background of the artist or his ability to real imaging. In the next step, provided that the work of art is connected to the literary text and through a dominance over written knowledge, it should prepare us with reaching to the occult meaning behind it. In order to investigate this approach, this study seeks for answering this question: “How would it be possible to understand the oneness between literary story and the interpretation of the pictorial content in four Qajar Pesian paintings of Farhad carrying Shirin’s horse on his back, with regard to Ernest Gombrich’s visual perception viewpoint?” With a comparative-analytical method and use of documentary studies, the authors’ objective is to illustrate, in a qualitative way and through an accurate attention to the unique stance of Gombrich in the field of visual perception, in first step and through comparing four Persian paintings of Farhad and Shirin, due to the existence of essential visual components, that the oneness of theme can be established despite the differences in style and presence or absence of some elements. Although the principal indices are depicted in different ways, in second step the depiction of some of the elements has been overlooked or the pomposity of some of the details has been increased, in comparing the depiction with the story narration, but the congruency between the pictorial signs and the theme is noticeable. The drawn conclusion is that in observing the general contexture of an image, perception and interpretation were perceived simultaneously. This is the phenomenon which allows the capability to recognize the figures and reaching tenors of depiction; as in depicting of one issue, human beings can consciously and through distinction of main components identify the oneness of the themes from different representation, a problem whose significance is revealed in visualized arts through selective studying in this inquiry.
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Type of Study: Research | Subject: هنرهای تجسمی

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