CONTEMPORARY IRANIAN PAINTING: TRANSITION FROM TRADITIONAL TO MODERN ERA

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CONTEMPORARY IRANIAN PAINTING: TRANSITION FROM TRADITIONAL TO MODERN ERA PARİSA SHAD QHAZVİNİ1 Introduction The contemporary Iranian painting tied its knot in Iran with the establishment of Academy of Fine Arts in 1941. The fine art that was planned based on the teaching principles of Beaux-arts Academy of Paris to some extent could familiarize young artists with the movements of contemporary western arts. Modern western art movements could help provide artists possibility for more creativity, innovation and quest and there was also no limitation on the natural imagination. At that point of time, painting works got more acceleration and artists could free themselves from a number of restrictions of traditional painting. There originated a modern art that not only lacked a deep deliberation and research rather lacked backing from national culture and tradition known as native arts. The modern Iranian art in middle of the 20th century satisfied young artists more than any enthusiasm and were not far away from imitation and bliss of Avant garde movements.

During the later two decades i.e. early 1960s, we come across passion of modernism among young and academic artists of the country. This passion and enthusiasm, after organizing painting biennials, became native with traditional color and aroma. And the apprehension of a large number of artists was to get permanent identity in this field. Formation of Sagha Khana in 1965 was one of the outcomes.

After a short time, this artistic movement got a permanent identity and artists of this style put more personal efforts in creating their works. In the meantime, only a limited artist enjoyed the support of the government or Iran-America cultural association. This movement continued until the emergence of Islamic Revolution in 1979. A decade after the revolution, they experienced different reflections.

The emergence of the Islamic Revolution gave rise to transformation in social infrastructure and artist were part of it. Following new social achievements, artists’ outlook too turned more towards anecdotal, utopian and mythical aspects. The work that accomplished during the first decade of the revolution (1980s), above all, is indicator of trust and credible ideals of artists and the Islamic society that wanted to reach to independence of their own identity. The aim and intention of work had more narrative description. Here, with governmental support and distinguished recommendations on one side we come across to conventional and ceremonial arts, on the other side, it portrayed the exalted revolutionary ideals. At that time, a few modernist movements are seen. In other words, if a work accomplished, it was very limited and was in concealment and deprived of common approach. Apprehension of artists in their works, more than all, explained slogans from revolutionary and social movements. They explained their message directly through these works.

Neither had they cared tradition nor modernism. More than all, they tried to get the independent identity in painting which they could reach due to various reasons.

1 Assistant Professor, Faculty of Art, Al-Zahra University, Tehran, Iran, Email: shadparisa@yahoo. com

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During the second decade of the revolution (1990s), the modernism movement in the painting appeared in different forms. A large number of modernist artists who had left the country during the early revolution returned after establishment of relative social and political calm hence; embarked upon their artistic activities.

They founded art education centers, galleries and associations and displayed their works along with those of their students. In the beginning of the 21st century, the government provided them a remarkable supports including financial and moral.

By this way, post-modern artists were encouraged and their modernist movements got the seal of authentication. These enthusiasts grew with the support of galleryholders and collectors. Undoubtedly, those attention and encouragement could draw young artists toward copying under the influence of modernist teachers. In the first decade of the 21st century, we can see divergent artistic methods among youth, the diversity with little aspects of innovation, investigation and quest rather majority of them focused on imitation from western artists in order to acquire the global dimension. This later aspect indicates the transition of artistic movements in Iran from traditional art to the modernism.

Development of Contemporary Iranian Painting To study the basic features of contemporary Iranian painting, one can point to the identical and natural paintings deduced by Kamal uk Mulk (Mohammad Ghaffari) and his pupils. Although Kamal ul Mulk was not considered as an innovative or modernist, one cannot ignore his efforts in taking the contemporary Iranian painting toward a direction distinct from traditional paintings. In other words, he laid the foundation of first movement in the contemporary Iranian art that followed the acquaintance with the European classical painting and education.

After returning from Europe, Kamal ul Mulk founded a fine art school in Tehran.

In this school, some famous artists were educated who worked on the topics related to daily life of people applying more natural or classical European style. Kamal ul Mulk tried to teach his student through social and religious topics and emphasized mostly on being Iranian and perseverance national identity.

During the course of first Pahlavi rule (1920-1940), influence of the school of Kamal ul Mulk was felt in Iranian paintings more than other artistic movements.

Then none of the modernist movement was created in the Iranian painting. The artistic movements of Kamal ul Mulk and his students enjoyed Pic.1, Kamal ul Mulk ,mirror social acceptance and liking palace,100x60cm.,oil on canvas,1889, Golestan due to identical picturesque palace in Tehran description. However, cultural elements were absent and it could not provide artistic recognition to the people (Pic.1).

With the expansion of fine art centers in 1940, young artists could found new 28

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ground for familiarizing them with new transformation in the western art. In these centers, initially two parallel methods were imparted: one was the teaching about natural paintings of Kamal ul Mulk School and another training of French teachers who familiarized young Iranians with western styles. The foremost teachers of this center were Siddighi, Heydarian, Mohsin Moghaddam, Madame Ashoub and Mr. Dobrol.

The curriculum of art centers was planned on the basis of teaching methods at French Beaux-Arts Academy. Although, artistic programming of Beaux-Arts had had no application in Iran and teachers were not sound enough to impart those logical principles. Teachers who must have familiarized with modern academic discussions could not present the exact definition of the modern art. Their encounter with the modern art was very superficial and nominal hence; they could not provide any chance for young artists. They had distinct methodologies e.g. Heydarian from Kamal ul Mulk School followed own style and Madame Ashoub propagated the one from Beaux-Arts. Among them, Forooghi knew exactly what did they want but students generally did not follow the French dialects. At the same time, Beaux-Arts programming could not be translated properly. “Through own work, we understood that what they actually wanted to convey. Art students were unable to get their viewpoints easily (Majbi, 1997:7).

The first group of art students who also formed the first Iranian academic artists, to the most possible extent, tried to defend the modern art. They called the work of naturalist painters as imitational, reproductive and traditional and put them on criticism. The students of this center were illusionists in their works and tried to focus on modernism.

Pic.2, Jalil Ziapour, ashaier woman, tried lat, Oil on canvas, 100x300cm.

1965, contemporarymuseum, Tehran First Generation of Modernist Painters After completing their studies, people like Javad Hamidi, Jalil Ziapour and Mahmuod Javadipour traveled to Europe and acquainted with the western modern art and observed it closely hence; could visualize the vacuum in the Iranian painting. On their return, they wanted to do away with those vacuum and transform the Iranian paintings. As Ziapour says: my message was that relying on 29

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own native cultural capacity, we would see what still remains and whether they have compatibility with the world of painting. We must develop it and elevate the country’s artistic culture (Ibid, 8). With this aim, Ziapour mixed national art with modern techniques hence, identified as the first modern artist of contemporary Iran who effortlessly tried in this direction (Pic.2). He can also be called as one of the pioneers of modern art in Iranian painting. To accomplish his aim, he along with his colleagues founded a society “Khoroos Jangi” (Bantam) and published a journal with the same name in 1950. Such sparse activities of Ziapour and few other painters and poets of this society led to propensity of young generation toward the definition of modern art.

The first painting exhibition in Iran with modernism aspect was organized by cultural societies attached to foreign embassies since there was no other place available to present art works. Iran-Soviet and Iran-France cultural societies were important organs that made it possible to display paintings of young Iranians in the middle of 20thy century. There needed a permanent place to present modern paintings hence; Mahmoud Javadipour and Ajoudani founded the first gallery named Apadana in 1950. This gallery became a center to display art works with the aim to acquaint people with the modern art. The artistic activities of this gallery though were not long enough and it was closed just after about a year. However, in a short span, it could introduce the works of painters like Jalil Ziapour, Hoshang Pazeshknia, Hussein Kazemi, Ahmad Esfandiari, Mahdi Vishkaee, Abdullah Ameri and Jawad Hamidi. “The Journal of Khoroos Jangi and Apadana gallery both were places for describing new artistic thoughts reciprocal to national and traditional art” (Pakbaz, 2000:205).

Among modern painters, Sohrab Sepehri enjoys a remarkable position. For him, both poetry and painting Pic.3, Sohrab Sepehri, desert, 100x140, oil on canvas,1967, contemporary museum, Tehran had equal value. His painting tantamount to his poetry and poetry advanced along with his painting. He acquainted with modern art in 1950 hence; focused on modern painting since then. However, his modern paintings followed a distinct course and made him able to create innovative art just like modernism. Sepehri hailed form desert of Kashan which had deep impact on his works. This territory played prominent part in artistic upbringing. The nature was one of the axial theme of Sepehri’s works; the nature in which he grew and had deep imprint on his mind (Fig.3). Sepehri is a modern painter whose imagination is distinct from Kamal ul Mulk i.e. exact imitation and sketch from objective nature.

Sepehri gave emphasis on the oriental philosophical writings and art which could also influenced his painting (Imami, 91).

The slogan of Sepehri was: “Everywhere in the world painters can talk to the 30

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people”. He was able to talk new things through his poems and created transition and new point of views in the contemporary Iranian painting. This quality was due to his moral upheaval as well as understanding of traditional values. His woks not only pointed to the apparent exterior aspect rather enumerated deep and modern views of traditional topics. In other words, his works are innovative accompanied with soul. Along modernist movements, Sepehri could focus on his national identity and acquired codes for modern art. “Since a single layer of the Iranian society visualizes Iranian architecture, viewpoints and living standard, the reason is not that the curtain is complete Iranian. What is more valuable is essence and pedestal of work that actually manifest as to which territory they belong to (Rahnuma, 1359) Role of Biennials of Painting In 1950s, possibility to display modernists’ works was limited to cultural centers of embassies and participation in biannual international exhibition where only a few Iranian artists could participate. This process continued until the department of fine arts decided to hold the first biennial on April 14, 1959 at white palace in Tehran with the help of deputy directorate of Ministry of Art & Culture as well as one of the modernist painters named Marco Gregorian. Then, Gregorian had recently returned from Italy and envisioned modern thoughts. With his appointment at Ministry of Art & Culture, expansion of his views and the governmental support, he was able to bring the modern art to the public domain.

Organizing biennial of painting in Tehran provided suitable ground for young artists and hence; it was imagined that this introductory action would symbolize the emergence of modern artistic movement in the country. Undoubtedly, holding biennial played an effective role in the development of painting, sculpture, hand print as well as introducing more modern works of Iranian artists. However, these steps also led to the emergence of artificial and temporary movements in the contemporary art i.e. type and method of work of award winners in each biennial became the model of young artists up to at least two years and they were hindered from their own personal efforts and expertise (Pakbaz, 1999:893).

Getting the modernist painting seriously by the government significantly could not stop its remarkable growth and expansion. But the fact that young artists were taken to a movement about which, they lacked basic knowledge and did not identify many of the objectives and principles of their initial formation. They were happy just with an immediate and rapid method of artistic creativity and their works could never communicate with people – main audience and could impact on social culture. In fact, artist with natural aversion not only did not enter into the realm of fantasy and imagination rather they merely cared to external shape and appearance and with enthusiasm of following the writings of western Avant garde too could not get right knowledge.

In this way, modernist art continued and audiences were no other than artists themselves. Principally, people were habitual of looking and enjoying images that had direct expression and focused on nature and reality. As a matter of fact, neither in the first biennial nor in four later biennials, the modern art could establish relation with the common people, nor artists made any effort to identify their audiences.

The Iranian society could not understand or accept the tendencies of their own young artists. As a result, people gave critical views about the aim of organizing 31

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those exhibition: “a group of people, in reality, inartistic, untalented and tasteless that lacked the least artistic culture create meaningless shapes by sketching few lines or by using few disgusted colors and they not only imagined them paintings rather take pride of it (Hajiani, 1956).

Writers and critics took stance against modernists painters and portrayed their movement as worthless. Jalal Ale Ahmad addresses them as: in a small gathering of yourself, if you have a thing, looked at and accepts you, the world too will accept you….. Do not imagine that you are crucified with western spider web technique and at last you being foreigner whether are living in the western world? Is it conventional that you too will remain as a western consumer? (Ale Ahmad, 1964) Second Tehran bienniale in 1960 was inaugurated with the same objectives and continued for a month although Iranian modernists believed that they have reached to the new achievements in the painting art. Their works were still raw and imitative and lacked any new movement and message. Second biennial successfully showed two main tendencies in the modern Iranian painting: first, painters inclined towards abstract; second, their inclination towards designs and decorative elements that in a simple form could explain the national identity. This was the beginning to explain the traditional and cultural Iranian identity that continued in the following decade.

The third painting exhibition, with similar intention, was held at the White Palace in April-May 1964. In the introductory catalogue, the third biennials says: “two previous biennials in Tehran showed that confusion of thought and pursuing strange liking have big share in our contemporary art. Although, the class of Iranian artists and present social exigencies demand a permanent national method” (Introductory Catalogue, 3rd Biennial, Tehran, 1961). In this biennial too, the issue is clearly visible that the presence of Iranian artists in the global arena more from administrator and in charge of cultural and artistic affairs of the country despite the fact that artists are acquainted with the language of western contemporary art, its principle and method.

One of the aims of the biennial exhibitions was popularizing the national art.

In the catalogue of the third biennial, it was emphasized that modern artists and painters must avoid blind imitation and consumption of western art as well as their direct copying and take heed to the national and traditional arts. But in practice, arbiters assessed it otherwise. Organizers of the exhibition, to make works valuable, gave more emphasis on taste and style as well as views and assessment of western

Pic.4, Mansureh Hosseini, Symphony of line & color, 100x50 cm., Oil on canvas, 1969, private Collection 32

Pic.5, Naser Oweisi, sunny miss with horse and guitar,100x70 cm.,oil on canvas, 1982, private collection

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referees. Even the internal referees showed along their western counterparts so that they do not lag behind in the convoy.

Among artists, works of Mansureh Hosseini (Pic. 4) and Naser Oweisi (Pic.5) showed a link between tradition and modernism.

Oweisi focused himself on Qajar and with new and innovative composition presented fresh output from the painting. “This effort, in reality, was at the time when a majority of painters were busy copying modern western art movements, and considered a kind of escape from divergence and clamorous destitute of modernism in Iran (Saif, 1986:7).

National Art, Sagha Khana (Drinking Fountain) Movement Among modernist artists who intermingled tradition and modernism and displayed their works in the third exhibition are Hussein Zand-e-rudi, Framarz Pilaram, Parviz Tanawuli, Massoud Arabshahi, Ghandriz, Sadegh Tabrizi, Nasir Oweisi, Zareh Tabatabaei and Zafar Ruhbakhsh (Fig.6-8). Karim Imami- a journalist and critic—was the first who in 1962, explaining the work of this group of modernist artists who tried to bridge between national religious tradition and modernism, applied the dictum “Sagha Khana” painting. Imami writes about Sagha Khana as: “With the emergence of lines in painting in the beginning of 1950s, some of the viewers were attracted towards Sagha Khana. This term was applied and universalized and was attributed to an artist whether painter or sculptor who in their works applied traditional Iranian form as the beginning point or raw material. ….painters Pic.6, Parwiz Tanavoli, Lover, Bronze, and sculptors of Sagha Khana 120x90x60,1982 School who are also called as Pic.7, Sadegh Tabrizi, two jockeys, Acrylic traditionalists, more than others, on canvas,100x100, 1976, private collection tried to access to an ancient aim Pic.8, Parwiz Kalantari, Home, oil & clay i.e. establishing a “national” and straw, 90x140 , 1982, Tehran art school whose outcome 33

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were just like the present-time as well as the Iranian. Art lovers and arbiters of biennials showed positive reaction with regard to them (Encyclopedia Iranica).

In such circumstances, the third biennial was named national art school or Sagha Khana School.

In this biennial, a large number of audio-visual and symbolic elements were taken into account and even color blending in the history of Iranian art and culture like refine design, tile work and portraiture. Apart from that, artists put much emphasis on calligraphy and meandering of words and sentences which later gave rise to “linear painting” style. Artists, in this style, applied Pic.9, Mohammad Ehssaei, God Names, calligraphy in color and texture 100x 70 cm., color ink on paper, Tehran and created a free incorporation with the principle of structure of calligraphy. A firm and bold actions that existed in the traditional Iranian calligraphy, artists came up with a new method by easily and freely mixing the lines. The most prominent artist of this style is Mohammad Ehsaei (Pic.9).

Organizers of fourth biennial (1964) found that contemporary Iranian artists have brought into forth abstract during the last six years of exhibition. “Spiritual results of past biennials have explained the point that keeps our artists away from figurative style and impel them towards abstract method. The number of artists inclined to this style between 3rd and 4th biennial found to be increasing (Introductory Catalogue, 4th Biennial, Tehran, 1964). The aim of organizers of this biennial was only to present reports on the last three biennials not its rectification.

In these biennials, likewise, organizers were concerned more about sending works to exhibition as well as fame in the eyes of westerners. Principally, they did not give a thought to fundamental discussions of art, needs and desires of art or creating communication and acquaintance with the contemporary art. By this way, after organizing consecutive biennials and extravagant expenditure, such exhibitions proved ineffective in attracting audiences because people did not see abstract and new art compatible to their own needs and in fact lacked knowledge about alphabets or language of the modern art. According to them, the modern art was commanded, imposed and governmental that moved ahead without culture and national or religious desires. Not only people did not welcome the modern art rather they resisted it. This led to the growth of two complete separate and strange cultures in the country.

“Unfortunately, dissipate modernists believed that a part of culture of a society can be borrowed and attached to another society without taking into account 34

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other factors. They are still making fruitless efforts (Katuzian, 1992:13). The modern Iranian painting quickly diverted and distanced from its own culture. “If Iranian community could rely upon own cultural substances to get to achievements of modern art, they could have transformed into global (Aghdashloo, 1964:22025). Moreover, such reasoning with biennial aims was incompatible for accessing national art.

The 5th Tehran biennial (1967) was organized with changes compared to previous settings i.e. it was held two months delayed from the due date of previous biennials and three days after the inauguration of Venice biennial. Policies relying on formation and programming, this biennial followed the aims distinct from previous ones. Apart from Iranian artists, this biennial was also attended by artists from Pakistan and Turkey. This time, the biennial was organized by the Ministry of Art & Culture, with the cooperation of CENTO (a regional grouping of Iran, Turkey and Pakistan). The participation of regional grouping was much illogical and questionable and it showed foreign interference in the formation of the modern Iranian art. “5th Tehran biennial was distanced from its first aim and led to the course that seems indecent. The biennial that incited enthusiasm among artists and gave a credit to modern Iranian painting gradually entangled with politicized administrative decision-making and shortsighted criticism of artists and at last such reasoning implicit in the objectives of biennial do not conform with national dimension.

The fifth Tehran biennial that could also not leave positive impact was the last official and active exhibition before the Islamic Revolution. Perhaps, the most obvious achievement of this biennial was the targeted activities of modernist painters as well as their access to the social fame. But, reality is that they could not reach to such an aim. In fact, how this biennial could link painting together was the unity of style in following western Avant garde styles and freedom of art creation.

Despite organizing five consecutive biennials, contemporary modernist painters encountered with lack of attention and support from the government and lost in the society that was no getter of their works. In the meantime, only those painters could continue their activities and presented their works that in a way was connected to the western art and cultural centers and directed their artistic movements in the form of a group such as “Sagha Khana” and “Naghashi Khat” (Linear Painting) movements.

1967 onward, galleries and art centers, although on limited scale, gradually took shape in Tehran and other big cities that focused on exhibiting modernists’ works and supported the modern art. An effort was made to free the modern contemporary art from its confused and disorganized condition. “Our painting presently has chaotic condition, however, Pic.10, Massoud Arabshahie, untitled, Mix must be cautious of withdrawing media on canvas, 1984, unknown Place it from tradition because there 35

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is a desirable route and once you put your feet in it you become captivated and utmost reach to a dead end (Arabshahi, 1972).

In 1970s, a majority of artists were strayed and dumbfounded. They tried a lot to create work that would have style and trend of Iranian culture and tradition but they more focused on decorative designs and appearance of patterns from ancient Iranian culture (Fig.10, work of Arabshahi). A large number of other painters “under the banner of worldly outlook” reach to the stage of imitation merely from western styles. In fact, cultural policies during Mohammad Reza Shah ignored all artistic tendencies i.e. these were free from any social commitment” (Pakbaz, 2000:219).

From 1975 onwards, support and artistic orientation of Iran-America

Pic.11, Hossein kosro-jerdie, revolutionists, 200x140 cm., Oil on Canvas, 1981, Art-Hoze Pic.12, Kazem Chalipa, self-sacrifice, 200x300 cm., Oil on canvas,1982, ArtHoze Pic.13, Habibollah sadeghie, Wise without practice, 120x180 cm., Oil on canvas,1985, Art –Hoze

Pic.14, Mostafa Godarzi, resistance, 1986,Oil on canvas,.

150x150 cm., Art-Hoze

cultural society was to the extent that contemporary Iranian modernist artists could periodically travel to New York and Washington and displayed their works and enjoyed support of the American government. With the establishment of the Contemporary Iranian Art Museum in 1978, it was believed that the contemporary Iranian painting would be more firm and powerful. Initially, this museum focused on introducing contemporary western art works and the real aim was to make the artistic community acquainted with achievements of modern and postmodern western movements especially in the United States. Indeed, cultural policy 36

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of Pahlavi period was to impel artists towards the West and America and this intensified in late 1970s that could be severed with the emergence of Islamic Revolution rather continued in a complete distinct way.

Pic. 15, Mahmoud Farshchian, dance, 100x70, water color and acrylic on paper, 1996,Farhangestane honar tehran Pic.16, Farah Osooli, Fier of love,90x90 cm, Oil and acrylic on canvas, 2002, privat collection Pic.17, Gholamhossein Nami, from earthy, clay collection, 120x100, 2004, mix media.

Iranian Painting after Islamic Revolution After the victory of the Islamic Revolution in 1979, modernists painting could not provide a rich and creditable backing for young revolutionary artists those who were in favor of artistic identity and freedom. In fact, modernist painting was not in line with the revolutionary aims and most of it was portrayed as devil protĂŠgĂŠ of art. It seems that the modern painting was supported and directed by foreigners and expanded to destroy culture and national religious identity and thus was hated by Iranian revolutionary people.

In the first decade of the revolution (1980s), with grave social complexities such as assassination of big personalities, domestic conflicts, Iraqi invasion of Iran and sanction and containment of Iran by western governments, paintings took more the forms of slogan and advertisement through symbolic, narrative and mythological methods (Pic. 11-14). Artists like Naser Palangi, Mostafa Godarzi, Kazem Chalipa, Habibollah Sadeghi and Hossein Khosro-Jerdie who were self-made and young artists firmed their feet in the artistic domain and created slogans with an inspiration from social realism from revolutionary countries. These works were not inquisitive and put more emphasis on propagation and creation of revolutionary enthusiasm.

In the second and third decades of revolution (1990s and first decade of 21st century), sociopolitical space became relatively calm and there arose possibility of review of artistic values. In this period, much emphasis was on the traditional Iranian art. Artists embarked upon creating modern and innovative works. In each of these two faces of modernism and traditionalism, we witness new and reflective movements. Traditionalist painters like Mahmoud Farshchian, Mohammad Ali Rajabi and Farah Osooli created works with an emphasis on Iranian traditions (Pic. 15-16). Following them, young artists too came up with new innovations and achievements hence; one can observe a transition 37

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Pic.18, Ziauddin Imami, nice names of Allah, 100x140, Mix media, 2004, private collection Pic.19, Reza Hedaiat, Life, 100x140, Mix media, 2007, private collection Pic.20, Parisa Shad Ghazvini, I call you, 2006, Mix media, 90x90 cm, Private collection from tradition to native modernism.

In the last two decades, there was extensive growth of academic art especially with educational transformation. Development of art centers and support of galleries for artists and auction of works played effective role with respect to recognition of the Iranian art to the world. It seems that at this point of time, enthusiasm and inclination of our artists for artistic innovation is more than before.

If contemporary artists focus on abstract and modernism, like past, others would not imitate western styles.

It is possible that they take help from non-Iranian executing techniques and methods but they make innovations that are manifestation of their own. Artists will produce their works with the belief that these must have fresh wording for society and the world. Our artistic endeavor, today, comparatively has acquired permanent identity and we don’t follow blindfolded to western works. Our contemporary works, though, has not registered the new artistic movements but has provided more axial identity and with the backing of thought and desire process could produce more deliberative social work. Today, the world expects from Iranian artists beyond what existed years before.

Over the past few years, contemporary Iranian painters have given more emphasis on works where traditional structure is coordinated with world technology.

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Perhaps, it means a transition from tradition to modernity. Artists have experienced variety of methods. Using traditional visual elements like symbols, signs, letters, designs and texture they acquired innovative works. The works of artists like Ziauddin Imami, Reza Hedayat, Sadeghi and Parisa Shad Qhazvini are some of the samples to attest this claim (Pic. 18-20).

Our contemporary artists produce their works with any thought, strength and belief this question always crop up in their mind that how they could create a painting and a work with the Iranian identity and introduce them to the world?

Currently, artists are in the process to open a way to review their exalted identity in a way that happened during the golden periods of Herat and Safavid Schools.

Conclusion Undoubtedly, Iranian artists, today, have acquired deeper understanding from artistic achievements of other nations compare to decades earlier. This purport has guided them towards more recognition and reaching to their highest target.

However, they are still to go long way in order to achieve coordination between face and content and creating innovative works. In the course of the last century, Iranian painting witnessed remarkable transformation especially in visual structure.

Enough experiments were conducted with respect to execution method and axial identity. The power of Iranian artists for applying technique has gone high and high.

Creative and modern works have been produced and fresh discussions propounded but the point that is still unaccounted for is the close connection between face and implication. In fact, modernism has taken root in the form and execution of works but not the innovation. Undoubtedly, creating unforgettable work is still to go long way.

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Imami, Karim, Sagha Khana, Exhibition Catalogue, Tehran: Contemporary Art Museum, 1977.

Aghdashloo Aydin, ‘Of Joy and Regret’ (Selected Papers), Tehran: Farhang-eMaaser, 1992 Aghdashloo Aydin, Iranian Art Inspired by Religious Beliefs, Negarestan Museum Publications, 1977 Pakbaz, Royeen; Imdadian Yaghub, Pioneers of Iranian Modern Art, Hussein Zandrudi, Tehran: Contemporary Art Museum, 2001 Pakbaz, Royeen, Pioneer of Iranian Modern Art, Massoud Arabshahi, Tehran: Contemporary Art Museum, 2001 Soheili Khwansari, Ahmad Kamal, Works of Mohammad Gaffari Kamal ul Mulk, Tehran: Elmi Publication., 1989 Siyar, Parviz, Paintings and Drawings of Sohrab Sepehri, Tehran: Soroush Publication, 2002 Shemkhani, Mohammad, Writings and Criticism about Pioneers of Iranian Art; Tehran: Nashr Aagah, 2004 Kamal ul Mulk, Mohammad, Kamal ul Mulk, Tehran: Publication of Ministry o Islamic Culture and Guidance, 2003 39

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Godarzi, Murtaza, Study of History of Iranian Painting, Tehran: Samt Publication, 2004 Godarzi, Murtaza, Ten years with Islamic Revolutionary painters, Tehran: Publication Majabi, Javad, Pioneers of Contemporary Iranian Painting, Tehran: Iranian Art Publication, 1997 Mihadi, Turan; Malaki Hassan, Selected Paintings of Parvez Kalantari, Tehran: Zarrin Simin Publications, 2003 Naderpour, Nader, Contemporary Iranian Paintings, Tehran: Morvarid publications

List of Journals Aghdashloo Aydin, Art & thought (Honar va Andishe), no.2, 4th Tehran biennial Ale Ahmad, Jalal, Hasty Assessment, Tehran: Rawaq Publication, 2006.

Ale Ahmad, Jalal, Book of Universal Month, 1962 Ale Ahmad, Jalal, Westernization, Tehran: Rawaq Publication, 2006.

Ale Ahmad, Jalal, Journal Andishe va Honar, 1964 Catalogue of 2nd Biennial of Tehran, Department of International Relations and Fine Art Publications.

Mohajir Mostafi, Great Biennial Exhibition of Painting, Honarhaye Tajassumi, no.

1, 2000.

Negin, biennial theory, no.14, Tehran, 1966.

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