Bibliographies thématiques / Iranians in art

Littérature scientifique sur le sujet « Iranians in art »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Iranians in art"

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Sattari Sarbanqoli, Sina, et Sirus Jamali. « A comparative study of painting and architecture stylistics of contemporary Iranian and western arts ». Journal of Art and Architecture Studies 10, no 2 (15 décembre 2021) : 31–41. http://dx.doi.org/10.54203/jaas.2021.5.

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Iranian art reflects the spirit and inclinations of Iranians, regardless of place and time of origin. Another point is the diversity of works of art which shows that the ancient Iranians had high skills in different regions. Iranian architecture and painting have always been present side by side and influentially throughout history, and this connection persists until today in contemporary Iranian art. The present article is a research on the features and concepts of architectural and painting styles in contemporary Iranian art and a comparative comparison of these two arts which is centered on the concept of architecture and painting. The contemporary architectural styles and tendencies in question date back to the first and subsequent Pahlavi rule. The general objectives of the research are to apply the styles of painting and architecture in Iranian art to achieve the same conceptualism of these two arts. For this purpose, three main categories have been studied: the first part is contemporary Iranian architecture, the second part is contemporary Iranian painting and the third part is a comparative comparison of contemporary Iranian architectural and painting styles. The present research is an analytical and comparative research and the research method is based on the application of styles and logical reasoning. Documentary and library studies and theories of experts are also the basis of this article.
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Hassanzadeh, Fatemeh, et Shima Moallemi. « L’art populaire : un outil d’éveil identitaire chez l’apprenant iranien ». Voix Plurielles 10, no 2 (28 novembre 2013) : 120–30. http://dx.doi.org/10.26522/vp.v10i2.846.

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Actuellement la vague d’émigration des jeunes Iraniens a provoqué un état conflictuel dans le contexte de l’enseignement et de l’apprentissage du français en Iran. Loin d’arriver à un enrichissement, l’apprenant iranien lors du choc culturel, se trouve dans une position d’acceptation absolue de la culture occidentale ; ce qui mènerait une démarche interculturelle, s’adressant dans sa première phase à l’identité de soi, vers un échec. Cette recherche consiste à voir où se trouve l’origine de cet échec menant à une crise identitaire et comment, à l’aide d’une démarche pratique, l’art populaire dans le cadre du théâtre expérimental pourrait créer un espace d’éveil identitaire implicite chez l’apprenant iranien. Popular art: an identity awaking tool on the part of the Iranian learner Currently the wave of immigration of young Iranians has caused a state of conflict in the context of teaching and learning French in Iran. When the Iranian learners confront the cultural shock, far from becoming a cultural enrichment, they find themselves in a position of absolute acceptance of Western culture, which would lead to an intercultural approach, addressing itself to identity in its first phase, then to a complete failure. This research tries to see the origin of this failure which results in an identity crisis and also to see how the use of popular art in the framework of an experimental theatre could create a space of implicit awakening in the identity of the Iranian language learner.
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Naef, Shirin. « Iran. A New Hub for Afghan Artists ». Almanach, no 2 (8 décembre 2022) : 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.

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Iran hosts one of the largest populations of Afghan migrants and refugees in the world. Though the two countries have always been linked through music, art and culture, Iranian society has for a long time looked upon Afghan migrants as “simple blue-collar workers”. But the rise of new generations of Afghans living and working in Iran is changing Iranians’ views – and shining a spotlight on Afghan poets, writers, cinematographers, and actresses.
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Fekete, Albert, et Reza Haidari. « Special aspects of water use in Persian gardens ». Acta Universitatis Sapientiae, Agriculture and Environment 7, no 1 (1 décembre 2015) : 82–88. http://dx.doi.org/10.1515/ausae-2015-0007.

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Abstract The Persian garden is one of the most characteristic and notable element in the Iranian landscape. Considering Iran’s hot and dry climate along with water deficit for plantation, it becomes noticeable how important the art of making gardens is to Iranians. Water is one of the most crucial elements in the Persian garden, and we can state that gardens would be meaningless without it. Garden applications use water with its various abilities such as life, brightness, cleanliness, light, inertia, and motion, which bring forward numerous feelings in the human soul and enhance mental comfort. Also, its various running structures, such as basins, streams, water creeks, and fountains, provide mental comfort and technical functions.
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Sousa, Inês, Farhad Shahram, David Francisco, Fereydoun Davatchi, Bahar Sadeghi Abdollahi, Fahmida Ghaderibarmi, Abdolhadi Nadji, Niloofar Mojarad Shafiee, Joana M. Xavier et Sofia A. Oliveira. « Brief Report : Association ofCCR1,KLRC4,IL12A-AS1,STAT4, andERAP1With Behçet's Disease in Iranians ». Arthritis & ; Rheumatology 67, no 10 (23 septembre 2015) : 2742–48. http://dx.doi.org/10.1002/art.39240.

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Russell, James R. « Iranians, Armenians, Prince Igor, and the Lightness of Pushkin ». IRAN and the CAUCASUS 18, no 4 (6 décembre 2014) : 345–81. http://dx.doi.org/10.1163/1573384x-20140403.

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The Animal Style that characterizes Scythian art came into Armenia and Russia, where it is attested in bas-reliefs on churches; and the epic Song of Igor's Campaign, a unique verbal reflection of it, inspired Pushkin and his descendants in their poetic visions.
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Al-e Ahmad, Jalal. « To Mohassess, For the Wall ». ARTMargins 10, no 2 (juin 2021) : 127–36. http://dx.doi.org/10.1162/artm_a_00297.

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Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
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Mirzaei, Mohammadreza. « Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall” ». ARTMargins 10, no 2 (juin 2021) : 118–26. http://dx.doi.org/10.1162/artm_a_00296.

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Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
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S., Yatsenko, et Kaverin S. « Archaeological Analogies to the Traditional Costume Elements in the Eastern Hindukush Area ». Teoriya i praktika arkheologicheskikh issledovaniy 34, no 4 (décembre 2022) : 25–47. http://dx.doi.org/10.14258/tpai(2022)34(4).-02.

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The article analyzes 22 details of the costume of Kafirs and partially the Kalasha of Hindukush which have close analogies among related ancient Iranian-speaking peoples of Pre-Islamic time. The Indo-Scythians and Kushans, who created large powers nearby in the 1st c. BC — 1st c. AD, have the most of such analogies. These peoples had an impact on the clothing of the local Indo-Iranians and, probably, participated in their ethnic history. The infl uence of the ancient Iranian peoples, who lived closer to the Hindukush, manifested itself in large costume accessories, as well as in headdresses and hairstyles. It is also easy to explain the presence of similar elements in the “world empire” of the Achaemenids and among such an active people in the early Middle Ages as the Sogdians. However, many details of the costume of the somewhat isolated societies of the highlands with their simple rural life did not find analogies in the ceremonial art for the elite of various Iranian peoples. Collaboration between a cultural anthropologist and an archaeologist seems to be important to solve this problem. New methods of such joint research are proposed.
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Vanzan, Anna. « The Holy Defense Museum in Tehran, or How to Aestheticize War ». Middle East Journal of Culture and Communication 13, no 1 (13 mai 2020) : 63–77. http://dx.doi.org/10.1163/18739865-01301004.

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Abstract In September 2013 the Iranian authorities inaugurated the Holy Defense Museum (Muzeh-i Dafa’-i Moqaddas) in the capital Tehran that also hosts a Martyrs’ Museum (Muzeh-i Shuhada) built in the early 1980s and later renovated. The new museum is part of a grandiose project to commemorate the sacrifice of Iranians during the war provoked by the Iraqi regime (1980–1988). The museum encompasses various aspects of the arts (visual, cinematic, photographic, literary, etc.) shaped to remember and celebrate the martyrs of that war. The 1979 Iranian Revolution and the following Iran-Iraq War produced an enormous amount of visual material; works produced during this crucial period that disrupted the balance of power, both regionally and internationally, constitute an important part of Iran’s recent history. Visual materials produced in that period not only constitute a collective graphic memory of those traumatic years, they also revolutionized Iranian aesthetics. The Islamic Republic of Iran (hereafter IRI) establishment has a long experience in molding contemporary art for political purposes and the Holy Defense Museum represents the zenith of this imposing project. In this paper, I present an analytic and descriptive reading of the museum in light of my direct experience visiting the museum, and I explore its role in maintaining the collective memory of the Iran-Iraq conflict, in celebrating the revolution and in aestheticizing war.
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Thèses sur le sujet "Iranians in art"

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Sadeghinia, Sara. « Défis de quelques pratiques artistiques contemporaines de la jeune scène iranienne ». Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30024.

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La culture en général et l’art, en particulier, occupent une position unique dans la structuration d’une société. En dépit des conflits, des convulsions politiques et idéologiques qu’a connu depuis un siècle, l’Iran d’aujourd’hui n’est plus un pays sous le joug politique d’une théocratie obscurantiste. Contrairement aux discours bruyants et actions hostiles de dirigeants islamiques qui provoquent si facilement l’attention du grand public en Occident, l’expression artistique iranienne reste très peu connue du public du monde entier. C’est à partir d’une réalisation plastique personnelle qu’ont été évalués que les véritables représentants et porte-parole d’une société iranienne progressiste ne sont plus ses politiques, mais bien ses artistes. Les artistes iraniens essaient de montrer la voix d’un autre Iran, celle d’un pays à l’histoire plurimillénaire, mais toujours aussi épris de culture et avide de liberté.Très attachées à leur histoire et leur culture, les oeuvres des artistes iraniens s’élaborent entre héritage et innovation. Lesquelles font état d’univers où un langage symbolique, ostensiblement hybride, se construit entre traditions ancestrales et modernité postrévolutionnaire. Par le biais de différents types médiums contemporains, comme la photographie, la performance, l’installation, la vidéo, ces oeuvres témoignent de la recherche d'un geste et d'un langage susceptibles de reconstruire la mosaïque du réel. Le regard des artistes, construit par leurs codes culturels, ne les empêche cependant pas de prendre en considération les actuels problèmes sociaux et politiques. Par contre, les artistes iraniens détournent intelligemment la réalité de façon métaphorique et symbolique pour transmettre le contenu de leur message au monde entier. De cette manière, l’art contemporain iranien, a pu s’épanouir sur la scène internationale et a pu attirer l’attention de quelques collectionneurs du marché de l’art et de commissaires d’exposition internationaux, durant ces dernières décennies
Culture in general and art in particular, occupy a unique position in the structure of society. Despite the conflicts, political and ideological convulsions has been known for a century, Iran today is no longer a country under the political yoke of theocracy obscurantist. Unlike the noisy speech and actions hostile Islamic leaders who so easily cause the attention of the general public in the West, Iranian artistic expression is very little known to the public worldwide. This is from a personal realization plastic what evaluated as true representatives and spokespersons of Iranian society progressive are no longer policies, but its artists. Iranian artists trying to show the voice of another Iran, a country with a history thousands of years, but still as loving culture and eager for freedom. Very attached to their history and culture, the works of Iranian artists to develop between heritage and innovation which indicate universe where a symbolic language, ostensibly hybrid builds between traditions and modernity post-revolutionary. Through different mediums contemporaries, such as photography, performance, installation, video, these works reflect the research gesture and language may reconstruct the mosaic of reality. The regard of artists, built by their cultural codes, however, does not prevent to consider the current social and political problems. By against, Iranian artists intelligently divert the reality of metaphorical and symbolic way to transmit the content of their message to the world. In this way, Iranian contemporary art, has been able to flourish on the international scene and has attracted the attention of some collector’s art market and international exhibition curators, in recent decades
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Mokhtabad-Amrei, Seyed Abdolhossein. « Iranian contemporary art music ». Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Shojai, Kaveh Darya <1995&gt. « Contemporary Iranian Art : Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.

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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Yarmohammad, Touski Golnar. « Odes to Incongruity : Iranian Contemporary Art in Diaspora ». Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.

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Sadeghi, Asal. « De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son ». Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.

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De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peinture
Many traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting
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Kadoi, Yuka. « Aspects of Iranian art under the Mongols : Chinoiserie reappraised ». Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24748.

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This thesis aims to shed new light on some aspects of Iranian art under the Mongols, reviewing problems of Chinese elements in Iranian art. In considering the stylistic and technical development of Iranian art, ‘the Chinese element’ is an inevitable issue. Any history of Iranian art under the aegis of the Mongols must include some accounts of the occurrence of these elements. Though Iran was affected by internal factors in earlier periods, it is indubitable that it experienced a shift in its aesthetic balance on a grand scale during the late thirteenth and early fourteenth centuries, as a result of the fruitful exchange of artistic ideas with China and, more broadly, East Asia. Despite a wide acknowledgment of the role of China in the evolution of Iranian art traditions in the late thirteenth to early fourteenth century, chinoiserie in Iranian art under the Mongols remains one of intangible matters in the study of the whole Iranian art; evidence for this unusual artistic phenomenon has thus hitherto not been treated at length in a single study. In order to provide a more fruitful approach to this subject, the discussion in this thesis spans almost all possible types of pictorial and decorative arts produced in Iran under the Mongols, ranging from often discussed paintings to hitherto unexamined decorative objects. Central to all subsequent discussion is the desire to synthesize old and new finds and to address in detail the hitherto ill-defined relationship between Iranian and Chinese art. Above all, the thesis aims to construct a proper art-historical framework for Sino-Iranian art studies in the Mongol period.
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Khazaie, Mohammad. « The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning ». Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.

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JAFARYAN, Faezeh. « Italian Neorealism and Iranian Cinema : A Deleuzian Reading ». Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.

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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.
The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Shobeirinejad, Seyed Abdolhadi. « Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art ». Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/972/.

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This thesis considers the possible association of Deconstructive thinking with the pictorial practices of traditional Iranian painting. The author‘s intention has been to improve the understanding of the type of compositional device here termed 'broken space‘ for artists who are interested in the traditional Iranian concept of space, by using deconstruction philosophy and its application in architecture. This research compares and contrasts the ideas that inspired Iranian painters and deconstructionist architects in order to explore ways in which they can be integrated. The author realized that the Iranian-Sufi view of the 'world of the imagination‘ and the deconstructive architect‘s concept of 'chora‘ would be the key ideas for producing the 'broken spaces‘ that are so characteristic of both art forms. Interestingly, these two ideas have comparable features that seem to have generated spaces with similar attributes. Nevertheless, the two forms are derived from completely different ambitions: the Iranian concept is metaphysical and the deconstructive chora is post-metaphysical. The practical part of the research established methods for employing deconstructive thinking whilst advancing the Iranian tradition of representing space. The author‘s practices, which were embedded in the techniques of printmaking, reflected the theoretical and philosophical ambition of building links between medieval thinking and a contemporary movement which is still felt to be radically positioned. Finally the thesis compares the author‘s pictorial approach to 'broken forms‘ of architectural spaces developed in this research with those of other contemporary Iranian artists. The advantages of the deconstructive method are outlined and theoretical and practical similarities such as the desire to create dreamlike spaces are evaluated. All things considered, the two forms can be integrated with greater ease than the alternative interactions with Western ideas currently used by the contemporary artists included in this study. The thesis concludes with some suggestions for further research that could help realize this goal.
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Walker, Parker Sharon LaVon. « Embodied Exile : Contemporary Iranian Women Artists and the Politics of Place ». Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.

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Livres sur le sujet "Iranians in art"

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Jacobi, Hannah. Stimmen aus Teheran : Interviews zur zeitgenössischen Kunst im Iran. Frankfurt am Main : Edition Faust, 2017.

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T͡Sagaraev, Valeriĭ. Zolotai͡a i͡abloni͡a nartov : Istorii͡a, mifologii͡a, iskusstvo, semantika. Vladikavkaz : Respublikanskoe izdatelʹsko-poligr. predprii͡atie im. V.A. Gassieva, 2000.

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Rozwadowski, Andrzej. Indoirańczycy--sztuka i mitologia : Petroglify Azji Środkowej. Poznań : Wydawn. Nauk. Uniwersytetu im. Adama Mickiewicza, 2003.

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Būrahkahʼī, Fārūq Ṣafīʹzādah. Ṣanāyiʻ-i dastī va huvīyat-i millī. 8e éd. Tihrān : Sāzmān-i Intishārāt-i Būrahʹkahʼī, 2009.

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Ḥayātī, Zahrā, 1975 or 6-, dir. Az huvīyat-i Īrānī. 8e éd. Tihrān : Sūrah-i Mihr, 2007.

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Zahrā, Rahnavard, et Dānishgāh-i. al-Zahrā, dir. Contemporary Iraninan [i.e. Iranian] art & the Islamic world. [Tehran, Iran] : Al-Zahra University, 2002.

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Humāʼī, Jalāl al-Dīn. Tārīkh-i Iṣfahān : Mujallad-i hunar va hunarʹmandān. 8e éd. Tihrān : Pizhūhishgāh-i ʻUlūm-i Insānī va Muṭālaʻāt-i Farhangī, 1996.

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Bānū, Humāʼī Māhdukht, dir. Tārīkh-i Iṣfahān : Mujallad-i abnīyah va ʻimārāt va ās̲ār-i bāstānī. Tihrān : Nashr-i Humā, 2005.

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W, Ferrier R., dir. The Arts of Persia. New Haven : Yale University Press, 1989.

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Mahlodji, Erfan. Hennaria : Traditional Iranian henna art. Stow, Ohio : TapDancing Lizard, 2002.

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Chapitres de livres sur le sujet "Iranians in art"

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Koo, Gi Yeon. « The Choice for the “Zendegie Normal (Normal Life)” : Changes Among Iranian Young Immigrants ». Dans Gulf Studies, 249–67. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_15.

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AbstractUp to a few years ago, reasons of Iranians’ migration and immigration were personal development, free life, better educational environment, and social welfare among others. However, the situation appears dire as it is circulated on social media that today’s Iranian youth migrate overseas for “air to breathe, basic living, and COVID-19 vaccination for survival”—it is their choice for a “normal life”. Iranian dream of breaking away from the day-to-day politics of surveillance and escaping to foreign countries are like virtual worlds in their reality. This chapter seeks to examine the Iranian’s forms of migration and the social context.
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Erfani, Farhang. « “What Are Filmmakers for in Needy Times?” ». Dans Iranian Cinema and Philosophy, 39–67. New York : Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012920_3.

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Hatami, Elaheh. « Chapter 1. Dance : A Dilemma in Iranian Art ». Dans TanzScripte, 23–44. Bielefeld, Germany : transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460801-003.

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Moussavi-Aghdam, Combiz. « “Iranian Modernism” and the Idea of Indigenous Art ». Dans New Histories of Art in the Global Postwar Era, 127–37. Names : Frigeri, Flavia, editor. | Handberg, Kristian, editor. Title : New histories of art in the global postwar era : multiple modernisms / Flavia Frigeri and Kristian Handberg. Description : New York : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-12.

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Fitzpatrick, Andrea. « Veiled Iranian Identities in the Photographic Art of Sadegh Tirafkan ». Dans Der Mann in der Krise ?, 182–98. Köln : Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218805-010.

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Ovla, Arman. « Myth and Mythology Related to Water in Indian and Iranian Culture ». Dans Art and Architectural Traditions of India and Iran, 85–99. London : Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-8.

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Ghahari, Hassan, Gary A. P. Gibson et Gennaro Viggiani. « Diversity of Iranian Chalcidoidea. » Dans Chalcidoidea of Iran (Insecta : Hymenoptera), 399–410. Wallingford : CABI, 2021. http://dx.doi.org/10.1079/9781789248463.0021a.

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Abstract This chapter tabulates the species diversity of Iranian Chalcidoidea by family, the species newly exclude from Iran, the species presently considered as endemic to Iran and the number of species of each family that are known from each of the 31 provinces that comprise Iran. It also tabulates the fauna of Iran compared with those of 15 adjacent countries having land and sea borders with Iran: Afghanistan, Armenia, Azerbaijan, Bahrain, Iraq, Kazakhstan, Kuwait, Oman, Pakistan, Qatar, Russia, Saudi Arabia, Turkey, Turkmenistan and United Arab Emirates, as well as the former USSR. Finally, comments are provided concerning the importance of accurate taxonomy and species checklists to help resolve economic issues resulting from agricultural and forestry pest insects.
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Ghahari, Hassan, Gary A. P. Gibson et Gennaro Viggiani. « Diversity of Iranian Chalcidoidea. » Dans Chalcidoidea of Iran (Insecta : Hymenoptera), 399–410. Wallingford : CABI, 2021. http://dx.doi.org/10.1079/9781789248463.0399.

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Abstract This chapter tabulates the species diversity of Iranian Chalcidoidea by family, the species newly exclude from Iran, the species presently considered as endemic to Iran and the number of species of each family that are known from each of the 31 provinces that comprise Iran. It also tabulates the fauna of Iran compared with those of 15 adjacent countries having land and sea borders with Iran: Afghanistan, Armenia, Azerbaijan, Bahrain, Iraq, Kazakhstan, Kuwait, Oman, Pakistan, Qatar, Russia, Saudi Arabia, Turkey, Turkmenistan and United Arab Emirates, as well as the former USSR. Finally, comments are provided concerning the importance of accurate taxonomy and species checklists to help resolve economic issues resulting from agricultural and forestry pest insects.
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Kholomeeva, Anna. « Идентичность иранцев в архитектуре X-XII вв ». Dans Testo e immagine. Un dialogo dall’antichità al contemporaneo. Venice : Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-362-5/009.

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The political environment in Khurasan with the arrival of the Samanid dynasty contributed to an increase in the national identity of Iranians on the one hand and mutual enrichment of cultures in the cosmopolitan climate on the other. The formation of style in the architecture is associated with the visual-spatial memory of Iranians themselves in a direction determined by Muslim religion. Hardly had the Iranian artists appealed to their traditional forms when they transformed them in according to the new Islamic discourse. The study also revealed that there is some evidence to suggest that Iranian art in the first centuries of Islam had its independent development course based on the flexibility of culture and awareness of its own identity.
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Akbari, Hourieh. « Persian ». Dans Language Communities in Japan, 169–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198856610.003.0018.

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Persian native speakers (Iranian) living in Japan are a group of newcomers in the diversified Japanese society of recent years. The Iranian community in Japan can be classified into three groups according to their timeline of arrival: (1) pre-Iran (Islamic) Revolution (~1979), (2) mid-1980–1990s (Tokyo’s ‘Ueno Park Iranians’), and (3) post-2000 (students, researchers, and higher education in Iran). This chapter focuses on the life situation, Japanese language skills, and language acquisition methods of the Iranian community in Japan. Many long-term Iranians have naturally learned Japanese in their living environment. On the other hand, Iranian students, whose numbers have increased in recent years, tend to acquire Japanese from an academic perspective. As a result of this cultural exchange, educational institutions that teach Persian language in Japan and Japanese language in Iran have been introduced.
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Actes de conférences sur le sujet "Iranians in art"

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Boroujerdi, Sarah. « Mapping Out Race : How Afro-Iranian Migrations Redefine the ‘Aryan Myth’ ». Dans GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-4.

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If maps refer to geographies, the transing of cultural histories, and an arrival of migrant bodies, what might it mean to map out race in Iran? This work examines the ethnocentric biases that stem from the ‘Aryan Myth’—a terminology influenced by The First Persian Empire (550-330 B.C.) and further associations with the ancient Indo-Europeans by 19th century Western scholars. The kindred ties between Iranian identity and homeland through the Aryan label formulated a romanticized narration of race in Iran. The bridge between linguistics, as emphasized by theocratic terminology and ancient language associations, and geography uniformly synthesized racial affiliations between Iranians and the Aryan racial categorization. Aryan ancestry and its association with land as homeland, while formulating a singular Iranian identity, subsequently separated Iranians from Afro-Iranian populations residing north of the Persian Gulf in the next few millennia to come. Limited scholarship has been shown of the Afro-Iranian community’s presence in southern Iran, particularly during and after the period of the slave trade from East Africa in the 1800s into southern Iran. However, archives on the aftermath of slavery from within Iran and England are critical to scholarship on Afro-Iranian migrations (Mirzai 2002, p. 231), where a reclaiming of multi-ethnic identity and a renovated epistemological lens comes centerfold. This work begins with an analysis of the Indo-European migrations of 4,000 and 3,500 B.C. by examining the Iranian family origins through Nichols (1997) "The epicenter of the Indo-European linguistic spread." This will be accompanied by the Ara’s (2005) Eschatology in the Indo-Iranian traditions: The genesis and transformation of a doctrine to define the history of the term “Aryan” and its rooted ties with Indo-European migrations and geography as homeland during Achaemenid rulership. The concluding section will review Mirzai’s (2002) “African presence in Iran: identity and its reconstruction,” with an analysis of the African diaspora during the mid eighteen and early nineteen hundreds, and subsequent growth of Afro-Iranian heritage within southern Iran. Through the establishment of Afro-Iranian societies within southern Iran during the 19th and 20th centuries, socioeconomics resulting from the slave trade, and race relations during the African population settlement of the eighteen hundreds, the blossoming of an Afro-Iranian ethnic heritage led to subsequent ostracism from the larger Iranian host society.
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Beizaeijouybari, B., et B. S. Gungor. « The effect of Islam on the design of Iranian gardens ». Dans ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK : WIT Press, 2016. http://dx.doi.org/10.2495/iha160091.

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Vertiienko, H. V. « IMAGE OF ROOSTER IN THE ART OF SCYTHIA : IRANIAN CONTEXT ». Dans ХХV СХОДОЗНАВЧІ ЧИТАННЯ А. КРИМСЬКОГО. Liha-Pres, 2022. http://dx.doi.org/10.36059/978-966-397-283-1-71.

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Roshan, Anita. « METALANGUAGE AND GRAMMAR LEARNING OF IRANIAN EFL LEARNERS ». Dans Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.015.

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« Saqqa-Khaneh School as Iranian Contemporary Art Movement : Post Colonialism or Orientalism ? » Dans April 18-19, 2017 Kyoto (Japan). DiRPUB, 2017. http://dx.doi.org/10.15242/dirpub.dirh0417049.

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Jamshidi, AR, F. Gharibdoost, M. Akbarian, F. Shahram, A. Nadji et F. Davatchi. « FRI0104 Reactive arthritis in 43 iranian patients ». Dans Annual European Congress of Rheumatology, Annals of the rheumatic diseases ARD July 2001. BMJ Publishing Group Ltd and European League Against Rheumatism, 2001. http://dx.doi.org/10.1136/annrheumdis-2001.139.

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Heidarpour, Mostafa, et Seyed Mojtaba Hoseini. « Generating art tile patterns using genetic algorithm ». Dans 2015 4th Iranian Joint Congress on Fuzzy and Intelligent Systems (CFIS). IEEE, 2015. http://dx.doi.org/10.1109/cfis.2015.7391652.

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Абеди, М., et Н. Ю. Митрофанова. « IRANIAN GARDEN CARPET AS A SYMBOL OF HEAVEN ». Dans КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.01.

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Иранские сады, известные как Чахарбаг, являются символом рая. Садовый дискурс развился и процветал в период Сефевидов (1501–1736 гг.) и оказал значительное влияние на многие виды искусства, включая ковроткачество. К этому же времени относят появление особого типа садового ковра под названием «чахарбаг». Иранские ковры стали своеобразной гетеротопией иранского сада. Они не только повторяют ландшафтную структуру, но и отражают важные концептуальные аспекты иранского садового искусства. Iranian gardens, known as Chaharbagh, are symbols of paradise. Garden discourse developed and flourished during the Safavid period (1501–1736) and had a significant influence on many arts, including carpet weaving. The appearance of a special type of garden carpet called Chaharbagh dates back to this time. Iranian carpets have become a kind of heterotopia of the Iranian garden. They not only follow the landscape structure, but also reflect important conceptual aspects of Iranian garden art.
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Farmad, H. S., et Z. Modarres. « "Are people as smart as their smart meters are?" - Iranian experience of statistics feedback to households ». Dans CIRED Workshop 2016. Institution of Engineering and Technology, 2016. http://dx.doi.org/10.1049/cp.2016.0777.

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Naghibulsadat, Seyed Reza. « Image of Social Life in the Information Society : Content Analysis of Iranian and Non-Iranian Social Networks' Structures ». Dans ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland : MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t1.3003.

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Rapports d'organisations sur le sujet "Iranians in art"

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Afkhami, Shirin, et Máté Szalai. Evaluating the current state of the Saudi-Iranian reconciliation. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.74.

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The article aims at assessing the current state of Saudi-Iranian relations and the reconciliation process taking place between the two Middle Eastern countries since 2021 by overviewing the main factors both on the domestic and international levels which can serve as either incentives for cooperation or obstacles. In the domestic realm, economic considerations are the primary drivers for both governments to get closer to each other. Regionally, the Yemeni conflict, Lebanese domestic politics, as well as the Iranian nuclear question are the most important issues affecting the process. In themselves, these factors are not enough to directly lead to a break-through in negotiations, which is why the reconciliation between Iran and Saudi Arabia continues to be unstable and uneven.
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Bulent, Kenes. Jobbik : A Turanist Trojan Horse in Europe ? European Center for Populism Studies (ECPS), août 2020. http://dx.doi.org/10.55271/op0002.

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Defined as Turanist, Eurasianist, pro-Russian, pro-Iranian, anti-immigrant but pro-Islam, racist, antisemitic, anti-Roma, Hungarist, and radically populist, Jobbik do not exist in a vacuum. The rise of Jobbik from deep nationalist, antisemitic, and anti-Roma currents in Hungarian politics dates back to the late 1980s and early 1990s. Despite its extensive efforts at “image refurbishment” in recent years, Jobbik remains a populist, revisionist, racist, radical right-wing party that threatens to destabilize Hungary, the neighboring region, and the EU.
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Lylo, Taras. Російсько-українська війна в інтерпретаціях іранського видання «The Tehran Times» : основні ідеологеми та маніпулятивні прийоми. Ivan Franko National University of Lviv, mars 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11730.

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The article analyzes the main ideologemes in the Iranian English-language newspaper The Tehran Times about the Russian-Ukrainian war. Particular attention is paid to such ideologemes as “NATO-created Ukraine war”, “Western racism”, “an average European is a victim of the US policy”. The author claims that the newspaper is a repeater of anti-Ukrainian ideologemes by the Russian propaganda, including such as “coup d’état in Ukraine”, “denazification”, “special military operation”, “conflict in Ukraine”, “genocide in Donbas”, but retranslates them in a specific way: the journalists of The Tehran Times do not often use such ideologemes, but mainly ensure their functioning in the newspaper due to the biased selection of external authors (mainly from the USA), who are carriers of the cognitive curvature. The object of the research is also the manipulative techniques of the newspaper (the appeal to “common sense”, simplification of a complex problem, etc.). Methods of modeling the image of the enemy are also studied (first of all, such an enemy for the Tehran Times is the USA), among which categoricalness occupies a special place (all features of the opponent are interpreted not only at its own discretion, but indisputably; such and only such perception of the opponent is “the ultimate truth”), stereotypes (stereotypes replace the true knowledge), demonization (the opponent is portrayed as the embodiment of absolute, metaphysical evil) and asynchrony (an astronomer’s view, who sees a star as if it was the same all eternity to this point. The dynamics of history is ignored by propagandist). Keywords: ideologeme, manipulative techniques, Russia, racism, propaganda.
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