Reading Hossein Behzad's miniature painting According to Modern Gadamer's Hermeneutic Theory

Document Type : Research Paper

Authors

1 PHD Candidate, Department of Islamic Art, Faculty of Art and Architecture, Tarbiat Modares University

2 Associate professor of Creative Arts(in Painting), Department of Painting, Faculty of Art and Architecture, Tarbiat Modares University

Abstract

In contemporary times, due to social-cultural conditions and the idea of modernity and reflection of Western culture and art, Iranian painters refer to past painting so that revive Islamic Iranian identity and culture. Hossein Behzad is as the most significant contemporary painter of this period of time. This research which aims at study Hossein Behzad's miniature painting in contemporary times, using Gadamer's hermeneutic concepts with a descriptive-analytical approach and collecting information by using library resources, admittance is answered the question how much the painter's artwork of this era fit into Gadamer's hermeneutic theory.
In this regard, he talks to the art of the Safavid period, and consider that the whole truth is not with him. Therefore, he enters elements of the Safavid art into his era, which entails a struggle between tradition and modernity. Since the thought of modernity and the reference to western art after the constitutional revolution in Iranian art and culture has proceeded, artists in the thought of reviving the identity of Iranian Islamic art have brought past miniature paintings, especially paintings of the Safavid and Herat schools, to revive traditional and national arts based on their contemporary art and culture, which is in accordance with Gadamer's hermeneutic theory. In other words, Hossein Behzad, according to Gadamer's modern hermeneutic theory, based on his prejudices, which is the result of the semantic horoscope of his time, talks with the art of painting in the Safavid school and with its Iranian Islamic influences. He corresponds to the semantic horoscope of his time, which has western influences, and finally creates an image that belongs to the time, culture and social conditions of his era and the formation of the style that belongs to him and his age.
He paid attention to the anatomy and perspective and the principles of naturalism, which was immaterial in the Safavid school miniature paintings, and applied in a way that did not harm modern contemporary art and adapted to the horizon of his time. He appreciated the style of Reza Abbasi, who, to some extent, ignored the principles of Mongolian style from Iranian miniature painting and at the same time paid attention to design as an important part of painting. Meanwhile, we found the concepts of Gadamer's hermeneutic, that it can describe and expand in contemporary miniature painting, especially Behzad's artworks. The artist talks to the semantic horizons of Safavid period, and he is with the semantic horizon of our time, the age of conflict between tradition and modernity, create the artwork. The contemporary painter, referring to the past painting, especially the Safavid school, elements of Iranian art, bring that era to the pictures of his time. It is adapted and created by the semantic horizon of its age. Gadamer argues that the interpreter interferes with the prejudices that fit his own period in interpretation. As well as texture and social and cultural context are also effective in creating the work, this is important in contemporary miniature painting in the compilation between traditional and western elements.

Keywords

References

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Journal of Fine Arts: Visual Arts
Volume 24, Issue 1
February 2019
Pages 49-58

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