1- Associate Professor, Department of Painting and Sculpture, College of Fine Arts, University of Tehran, Tehran, Iran , azargham@ut.ac.ir
2- PhD. Research in Art, Department of Advanced Studies in Art, College of Fine Arts, University of Tehran, Tehran, Iran.
2- PhD. Research in Art, Department of Advanced Studies in Art, College of Fine Arts, University of Tehran, Tehran, Iran.
Abstract: (14 Views)
Since narratology demonstrates an interdisciplinary approach, it becomes possible to read visual art works using this approach. Coffeehouse painters' works, due to their connection with the text, provide a context that allows for their examination through narratological theories. The aim of this research is a comparative study of the similarities and differences in coffeehouse paintings from the perspective of Greimas's actantial model. The present research faces the question: What are the similarities and differences in coffeehouse paintings on the subject of the killing of Siavash based on Greimas's actantial model? The research method of the present study is analytical-comparative, and a qualitative method has been used for analysis. The statistical population includes coffeehouse paintings, and three works on the subject of the killing of Siavash by Mohammad Modabber, Hassan Ismailzadeh, and Fathollah Qollar have been selected as case studies. Furthermore, Greimas's actantial model has been used to discover the similarities and differences between the works, and the data have been collected through library research. Based on the research findings, Greimas's model of actants can be considered an effective model for examining similarities and differences in the generative trajectory of meaning within the realm of coffeehouse paintings. As the examination of the works shows, the similarities between these works are due to the painters' fidelity to the text and pictorial conventions. All three painters have depicted the scene of middle disequilibrium. This approach indicates the similarity of the works regarding the actant of the object of value (the eternity of purity). The helper actant (inner purity) is shown in the works through pictorial conventions. Furthermore, unlike in the text, the sender and receiver actants are not present in the paintings. The existing differences are formed around the subject actant and the opponent actants and include aspects such as point of view and clothing. Finally, it must be acknowledged that coffeehouse painters have gone beyond merely narrating the text of the Shahnameh and have incorporated their personal interpretations into the formation of the works.
Article number: 7
Type of Study: Research |
Subject:
Visual Arts
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