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Posters of the Iranian revolution bring together two graphic styles -- international revolutionary posters in red, white and black; traditional Islamic painting styles of miniatures, coffee houses, and story cloths to prompt oral narrators with a broader palate including prominently green. Apart from the counterpoint between graphic and symbolic traditions, allusions and allegories, the posters also dramatize the competition over legitimacy and the use of symbols by different factions within the revolution. Among the strongest: Khomeini's icy stare melting US guns; a wounded woman with child on an asphalt imperial highway (built with petroleum, literally and with its revenues), and a stamp of Bilal (first muezzin and black Ethiopian) and Malcolm X calling people to the Islamic revolution, and Khomeini as Moses pointing to tortures in hell awaiting the shah with broken crown.
International Journal of Communication, 2012
Iranian Studies, 2013
The figure of the martyred soldier is so ingrained in the Iranian public sphere that today, thirty years after the Revolution and twenty years after the cessation of the hostilities against Iraq, Iranian revolutionary painting on canvas keeps drawing most of its inspiration from the Shiite rhetoric of the martyred body and from the war. This paper identifies and analyzes the iconographic forms of the martyred body in this pictorial production, which expresses primarily the concerns of the State. Relying on six works on canvas – painted before, during and thirty years after the Revolution – a scalable approach to the various representations of the martyred body is proposed, referring to Iran's history. « Iranian Revolutionary Painting on Canvas: Iconographic Study on the Martyred Body », Iranian Studies 4, vol.46, Routledge/The International Society for Iranian Studies, London/Los Angeles, 2013, pp. 583-600.
Brandeis University Senior Honors Thesis, 2016
*Only Introduction Is Available for Viewing. For Full Thesis, Go to Brandeis Digital Repositories* In the year following the overthrow of the Pahlavi monarchy, one image in particular proliferated in national and international press as indicative of the social revolution that had unfolded in Iran: that of the veiled woman with a gun. Much of the scholarly work on the aesthetics of Iran’s revolutionary culture has focused on the way embedded Shi’i cultural tropes expressed themselves visually in public space – primarily through the ta’ziyeh passion plays and the Ashura processions – and argues that it is through a lineage of Shi’i symbolism that we can locate imageries of women, chiefly through the figures of Fatima and Zeinab. Yet, the visual representations of women in the years leading up to 1979 pose a stark contrast to this explanation – militant women were compared not to Fatima or Zeinab but rather to figures like Leila Khaled of the Palestinian liberation struggle and Djamila Bouhired of the Algerian independence movement. Women were seldom shown as “a model of a daughter before her father, a wife before her husband, a mother before her children” – characteristics which chief revolutionary ideologue Ali Shariati had claimed Fatima embodied – but rather as fist-raising, gun-toting fighters. This thesis examines how we can account for this gap in the historiography of women’s revolutionary imagery, by tracing an additional lineage of aesthetics to transnational and Third Worldist visual cultures. Instead of viewing the Iranian Revolution as an “exception to the rule”, the work of this thesis asks how we can locate the Iranian Revolution within the global traditions of this era; and asks how Iranian revolutionary consciousness was itself influenced and inspired by the contemporaneous struggles, from Algeria to Nicaragua to Vietnam. Through mapping a number of prevalent symbols and gestures that formed a sort of vocabulary of resistance during the era – specifically, that of “the fist”, “the v-for-victory” sign, “the gun”, and “the militant woman,” this thesis looks at how Iranian revolutionary culture – and the place of women within it – came to adopt these era-specific codes of militancy. The work to map a transnational genealogy of political symbols can open up space to analyze the many aesthetics of the Iranian Revolution beyond the “Shi’i lineage” that has been assumed for it; and can provide new insights into the ways such transnational aesthetic traditions were in fact sustained, continued, and centered in the gendered iconographies of the Islamic Republic.
This paper is rooted in the photography and observation of Graffiti that presents an overview of presence and absence of anonymous public writings in Tehran. It is based on over 150 digital photographic examples collected from Tehran, where the flourishing of artistic dissent is formed by widespread poverty and the recent political history followed by an economic collapse that radicalized youth of middle-class. According to Gehs argument that art objects and places which form their causal milieu share social agency with the artists who produce them, the aim of this paper is to show how Graffiti confront institutional power by expanding semiotic street arts in the west areas of Tehran like Shahrak-e Gharb and Ekbatan Complex. The active role of open public spaces in the cultural and political performance of social changes is investigated in this study. Why murals are not part of the visual public discourse in Tehran, as they are in other divided societies? What is the Graffiti in the existence of murals? What political meanings are articulated in the interactions of Graffiti writers in specific areas of Tehran? How does whitewashing fit into a much larger civic discourse that includes individuals, groups and authorities? This paper tries to find acceptable answers to these questions. In particular, this paper aims to analyze the group-oriented visual discourse and discourse related to individuals. The Graffiti that studied in this paper have been selected from specific parallel areas located in the west of Tehran.
Public Culture, 2024
This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant‐garde. The authors recover these aesthetic and intellectual connections in the academic and professional training of the artists and in the art historical context of the posters themselves, examining the posters’ recent and more distant influences, and reinscribing the artists in the history of Iranian art and international art history. The authors also point toward connections between Group 57 and protest art in Iran today.
International Journal of Criminology and Sociology, 2020, 9, 285-299, 2020
There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention. Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the governors. Keywords: Iranian Visual Artists, Pahlavi, Political Freedom, Persian Protest Literature, the Shāh.
2013
Anthem Middle East Studies The Anthem Middle East Studies series is committed to offering to our global audience the finest scholarship on the Middle East across the spectrum of academic disciplines. The twin goals of our rigorous editorial and production standards will be to bring original scholarship to the shelves and digital collections of academic libraries worldwide, and, to cultivate accessible studies for university students and other sophisticated readers.
IRAN, Journal of the British Institute for Persian Studies, 2018
This article discusses how May Day posters, released by the Islamic Republican Party of Iran (which represented the core of Ayatollah Khomeini’s supporters in terms of state power between 1979 and 1987), started to express a new socially constructed identity for workers within the factory. By tracking hidden meanings and the particular use of visual language, it investigates why various styles and symbols were woven together.
Faculdade Católica do Amazonas, 2024
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II International Workshop on Gamification in Education: gEducation 2015
Fractal and Fractional
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A. M. Adroher Auroux e J. Blánquez Pérez (edd.), 1er Congreso Internacional de Arqueología Ibérica Bastetana , Universidad Autónoma de Madrid, Universidad de Granada, Madrid 2008, vol. 2, pp. 239-251.
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