Volume 7, Number 13 (9-2017)                   2017, 7(13): 0-0 | Back to browse issues page


XML Persian Abstract Print


Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:

The comparative study of several Persian Paitings of Qajar From the perspective of Ernest Gombrich’s Myth of Innocent Eye (Case study: “Farhad carries Shirin’s horse on his back”). Scientific Journal of Motaleate-e Tatbighi-e Honar. 2017; 7 (13)
URL: http://mth.aui.ac.ir/article-1-683-en.html

Abstract:   (221 Views)

The perception and interpretation of art works take place in an interactional process so that it is impossible to separate one from another. Thinkers like “Ernest Gombrich” pose this issue to refute the visual perception theory. From this point of view, one should be able to recognize the oneness of the subject in representative works of art that have a similar theme, regardless of differences in style. In the next step, in case of the work of art being related to a literary text, the grasp of written lore should lead us to understanding its tacit meaning. In order to investigate this point of view one could challenge various study cases with a comparative approach, but it is better to put the focus on some forsaken samples of Iranian art. This article was formed in response to this question: “with regard to Ernest Gombrich’s visual perception point of view, how it will 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?” The aim of the authors is that, with a comparative-analytical method and use of documentative studies, illustrate in a qualitative way that through careful attention to the unique stance of Gombrich in the field of visual perception, firstly, in comparing four Persian paintings of Farhad and Shirin, in spite of differences in style and presence or absence of some elements, because of the existence of essential visual components, the oneness of theme can be established. And secondly, in the collation of the illustration with narrative account, although the principal indices are painted in different ways, or the depiction of some of the elements has been overlooked, or the pomposity of some of the details has been increased, but the congruency between the pictorial signs and the theme is noticeable, both in the works which are more bound to the style of their time or, on the contrary, seem more alien. For according to Gombrich opinion, in seeing the general contexture of an image, perception and interpretation happen simultaneously.

     
Type of Study: Research | Subject: هنرهای تجسمی

Add your comments about this article : Your username or email:
Write the security code in the box

© 2015 All Rights Reserved | Scientific Journal of Motaleate-e Tatbighi-e Honar

Designed & Developed by : Yektaweb