عنوان مقاله [English]
Iranian painting, without merely imitating the nature, has been trying to create ideal spaces for a long time. These spaces were exactly what the artist had in mind. Thus, except the periods influenced by Western traditions, no signs of naturalism can be found in Iranian painting. Instead, from ancient times, stylization, symbolism and decoration were common in the visual art of this land. The space derived from the mind of the artist is the fixed and unchangeable element of painting evolution which cannot be neglected in studies. This space is formed, processed and finally objected on the canvas. Space is the result of the relationship between the audience and the motif. It is a vehicle for conveying the inner structure of the motif which takes the viewer to a ride on the mental world of the subject, the painter. Whenever the space of the motif captures the audience and makes him synchronized with it, one can conclude it has played its role well and then this sweep will continually be repeated. A similar attitude toward the space has been differently demonstrated in poetry. A poem written by George Trakl, which describes a winter evening, uses concrete images that we all know them in our routine world. However, these images also imply on more general structures as the main title of the poem holds everything in this natural context. The importance of this research can be tracked in modern
notions and understanding of different architectural and painting spaces in a given period. This research is done through examining the common deepest conceptual layer of these two arts; that is the relationship between the spaces of the two, the goal of the research can be achieved. This paper aims to shed light on the fact that in Iran the conceptual relationship between painting and architecture has been established and in the contemporary era, these two arts which were fed by one source transferred the same spatial concepts. Painting and architecture were always been together and, with exclusive features, helped each other out on the foundations and forms. Sometimes, painting becomes the initial idea of architecture and vice versa. Thus, spatial perception of the artist has helped to create space in a different way. The missing ring in their only irreducible common spaces is a space created in objective architecture, two-dimensional space, three-dimensional space, and virtual painting. This article investigates the representation of traditional architecture space in Iranian contemporary painting and architecture which can be seen in Mirmiran and Kalantari paintings. Through comparing the relationship of the concept of space between painting and architecture in the contemporary era, this paper intends to study the conceptual links between the two arts. The aim of the research is to achieve a common understanding of the painter and architect of Iranian traditional architectural space. Therefore, two artists who focused on the representation and interpretation of traditional architecture in their works and are considered as pioneers in this area are selected. To this end, three main categories have been examined:
• The examination of the representation of traditional architecture and its concept in the paintings of Parviz Kalantari
• The examination of the representation of traditional architecture and its concept in the paintings of Seyed Hadi Mirmiran
• The examination of “the relationship and the link of painting and architecture spaces” in the works of these two contemporary artist
This research utilized a perceptual and philosophical approach to study the space, in which the term “space” is used as the equivalent of “quality”, “expression” or “space impact”. The paper is based on a comparative study and a formal and iconographic, commentary analysis. In terms of artworks, the iconographic approach focuses on the meaning of the subject. It can be said that iconographic research focuses on content rather than form. The method has been arranged so that the influential factors on the formation of the space in selected paintings and architectures is examined and analyzed. Finally, the common features of Iranian traditional spaces representation will be expressed in the works of the mentioned artists. Comparative analysis of spaces in other Iranian arts in order to gain a better understanding and providing a more accurate picture of space perception in contemporary Iranian art is suggested for future research.