Impact assessment of Tehran contemporary painting on citizens With emphasis on three dominant approaches: monumental, abstract, simulation

Document Type : Research Paper

Authors

1 Faculty Department of Urban Planning & Architecture, Maziar University

2 University lecturer - painting - karaj

Abstract

Today the face of Tehran metropolis defaced and in term s of identity and communicating with citizens is extremely weak. The urban landscape has direct connection with urban walls, and from this perspective, the significance of wall art can be considered. Wall paintings that can, along with the improvement of the quality of the environment, provide a means for transmitting the themes of identity, religion, history, culture, and so on. The fundamental belief in this study is that paintings with conceptual (abstract) themes and newer techniques of execution, and more consistent with other applied approaches, such as simulation and memory, are more successful in terms of cohesion and identity and their impact on citizens. Researches that have been carried out so far have examined most of the technical aspects of wall-painting and technical capabilities, but this research has specifically focused on three dominant approaches to contemporary urban painting. It is difficult to satisfy the most of audience of a wall paintings in the public space of the city. However, recognizing the common characteristics of citizens (such as nationality, culture, religion, historical background, etc.) with regard to the proper understanding of the timing and needs of society.Able to create works that have the minimum qualifications necessary to satisfy the majority of citizens.Help, also general themes expressed in the wall painting to the expressive features of the environment and culture where the audience is taken, so that the effect of the wall to create a sense of belonging contacts..In this way, muralism in urban space should, in the light of field research, be of such a kind as to be useful to and useful to citizens .Considering the emphasis on theoretical foundations of works, along with monitoring their implementation with new techniques, in line with the intellectual development of citizens, can contribute to improving the status of this art. The present study is based on the nature and purpose of the applied research type, which has a definite prioritization, and uses a descriptive method to explain theoretical foundations of researchThe method of explaining the findings of the research is also qualitative. The data base was based on the study of library documents as well as survey and distribution of the questionnaire. Therefore, 300 questionnaires were distributed in different regions of Tehran with the same conditions and randomly distributed among the three groups .The results of the research reflect the fact that the late mural paintings from the viewpoint of Tehranian citizens are more favorable than the works before them(Wall paintings of the 70s and 80s ), This research clearly shows that the abstract approach, despite being new, is considered as a new experience in the urban space of Tehran. Although there are still shortcomings in the message transfer, then the simulation approach and then the memorandum approach have gained the highest scores, the results of which are raising the level of artistic understanding of citizens, paying attention to the themes and techniques of execution, and expressing the desire for quality against Quantity

Keywords

References

اخویان، مهدی (1390)، انگاره‌های خیال - نقاشی ایرانی: تأثیر واقع‌گرایی و واقع گریزی شعر و ادبیات بر نقاشی دیواری اماکن مذهبی شیعه در ایران، فصلنامه هنر، شماره 83 و 84، صص 2-9.
اسکندری، ایرج (1385)، جنبش هنر انقلابی ایران، ماهنامه هنرهای تجسمی ایران، شماره 25، صص 53-50.
پاکباز، رویین (1383)، دایره المعارفهنر، فرهنگ معاصر، تهران .
پاکزاد، احمد (1392)، درآمدی بر نقش دیوارنگاره ها در هویت شهری انسان گرا، نشریه علمی ترویجی پژوهش هنر، شماره1، صص 5 – 4.
پوراحمد، احمد و شماعی، علی (1384)، بهسازی و نوسازی شهر از دیدگاه جغرافیا، انتشارات دانشگاه تهران، تهران.
حسامی، منصور (1388)، نقاشی دیواری از طرح تا مرمت، انتشارات سمت، تهران.
داندیس، دونیس (1378)، مبادی سواد بصری، مسعود سپهر، انتشارات سروش، تهران.
کرامتی، محسن (1384)، فرهنگاصطلاحاتهنرهایتجسمی، چکامه، تهران .
کفشچیان مقدم، اصغر و مظفری خواه زینب (1391)، قابلیت‌های هنر کمینه در گرافیک محیطی شهری با تأکید بر نمونه‌های دیوارنگاری‌های شهری ایران، فصلنامه پژوهشی نگره، شماره 22، صص102- 85.
کفشچیان مقدم، اصغر و همکاران (1389)، ارزیابی دیوارنگاری معاصر تهران از دیدگاه مخاطب، نشریه هنرهای زیبا- هنرهای تجسمی، شماره 41، صص 69 – 63.
کفشچیان مقدم، اصغر (1385)، چگونه یک نقاشی دیواری را ساماندهی کنیم، نشریه هنرهای تجسمی، شماره 25، صص 50 – 42.
کفشچیان مقدم، اصغر (1383)، بررسی ویژگی‌های نقاشی دیواری، نشریه هنرهای زیبا، شماره 20، صص 78 – 67.
لاری بقال، کیانوش (1384)، اصول طراحی فضای عمومی مطلوب در شهر، ماهنامه پژوهشی شهرداری، شماره 30، صص 14-11.
موسوی لر، اشرف السادات و شمیلی، فرنوش (1390)، ساختار بصری نقاشی‌های دیواری تبریز، نشریه جلوه هنر، شماره 8، صص 53-66.
 
McEvoy, Shannon (2012), Latino/Latin American Muralism and Social Change: A Reflection on the Social Significance of the Cold Spring Mural, BA Honors Thesis, College of Saint Benedict, Saint Johns University, p 34.
 
Zehtab, Zahra (2001), Pioneers of Iranian Modern Art Massoud Arabshahi, Mahriz Pub, Tehran.
 
www.britannica.com/EBchecked/topic/397882/mural
 
 
 
 
 
 
 
 
 
 
 
 
 
Journal of Fine Arts: Visual Arts
Volume 23, Issue 4
December 2018
Pages 81-90

Files

Share

How to cite

Statistics