1- Razi University , n.norozi@razi.ac.ir
2- University of Mazandaran
3- Bahonar University of Kerman
2- University of Mazandaran
3- Bahonar University of Kerman
Abstract: (32 Views)
Humans play a central role in Kamal al-Din Behzad's paintings, and the humanistic approach, along with the realistic perspective, are considered the most important features of his paintings. Based on these features, the presence of humans in Behzad's works is numerous and goes beyond his literary pretexts, but the representation of women in them is very small, such that no women are seen in many of his paintings. The purpose of this article is to analyze how women are represented in Behzad's paintings, relying on his humanistic approach and realistic perspective, and the factors affecting it, and to answer these questions: What is the representation of women in Behzad's paintings like? And what factors have affected it? This research is based on a meta-textual approach and an analytical-descriptive and historical method, and data collection was carried out by searching library and online sources and observing images. Data analysis is also quantitative and qualitative.
A study of Behzad's paintings and the position of women in Timurid culture, the discourse of society and the views that govern it showed that the presence and manner of representation of women in his paintings, despite having a humanistic approach, was in continuity with the tendencies and views of his time and also the different position of women in Timurid society and court, based on which Behzad had two realistic approaches to the representation of women in his paintings. The first approach is with court women and is based on the Mongol attitude in Timurid culture in which women have a high position. These women have a more prominent presence in Behzad's paintings. The second approach, however, is with ordinary and non-court women and is based on the negative attitude of society towards women, of which Jami is the most important representative and Behzad is his devotee. In Behzad's paintings, following this attitude, the representation of non-court women is very few and only those are represented that Jami has a positive attitude towards.
A study of Behzad's paintings and the position of women in Timurid culture, the discourse of society and the views that govern it showed that the presence and manner of representation of women in his paintings, despite having a humanistic approach, was in continuity with the tendencies and views of his time and also the different position of women in Timurid society and court, based on which Behzad had two realistic approaches to the representation of women in his paintings. The first approach is with court women and is based on the Mongol attitude in Timurid culture in which women have a high position. These women have a more prominent presence in Behzad's paintings. The second approach, however, is with ordinary and non-court women and is based on the negative attitude of society towards women, of which Jami is the most important representative and Behzad is his devotee. In Behzad's paintings, following this attitude, the representation of non-court women is very few and only those are represented that Jami has a positive attitude towards.
Article number: 2
Type of Study: Research |
Subject:
هنرهاي تجسمي
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