The impossibility of the presence of movement and temporality in the world of Iranians painting

Iranian painting represents a world without movement, without time and without place. Therefore, it is necessary to answer the question that under what ontological conditions is it possible for an artist to depict such a world, and basically, why is it not possible to show movement, temporality and spatiality in this epistemological geometry? This study has been done in a historical-analytical way and its data has been collected in a library way. With Ernst Cassirer's "Philosophy of Symbolic Forms" theory, it was explained that Iranian painting works can be read as a kind of mythological knowledge of the world. This knowledge is in opposition to scientific and experimental knowledge, mythological time is different from the linear concept of historical time. Also, scientific and geometric spatial coordinates cannot be seen here.

Iranian painting, in order to order its foundation, which is adherence to a kind of timelessness and placelessness, in the first step removes the perspective of the subject [artist] from his mind and then from the image that is the result of his visualization to the world; Because the concepts of time and place are completely dependent on subjective perception.

In fact, this is the formula that experimental and scientific understanding seeks to prove and adhere to; It means reaching a humanistic structure that is the result of the visual perception of a human subject, and this idea is completely against the ontological structure of Iranian painting. On the contrary, Iranian painting tries to emphasize an intuitive and non-rational aesthetic view, therefore the most important and basic step in depicting the mental world is to remove the mental perspective of the human subject as the subject who knows the world and not to follow scientific and experimental knowledge. The prominent point in the study of the history of Iranian painting, which is generally kept out of view, is that it is thought that this style of illustration is specific to the representation of mythological or mystical narratives, and the artist has consciously chosen this way of representation, considering the nature of the theme. Is. Or it is believed that this form will change with the introduction of western techniques. But it must be said that this form of representation cannot be explained by themes or techniques. Many works can be cited to violate this assumption. The absence of time, space and movement here is because in this mental thought everything is fluid and there is no boundary between inside and outside, here and there, night and day in the artist's mind. Mythological knowledge remains captive to phenomena and stops at a certain moment. Because the myth lacks a tool that can go beyond this moment, therefore, in this epistemological space, the artist is not able to record or represent the tension, movement and becoming of phenomena. Not in the sense that he cannot represent it. Because here the issue of representation is not in its technical sense. Rather, it is impossible to represent the movement in its epistemological sense.