A Comparative Study of the GridGeometry in the Urbanism and Painting of the Pahlavi Era

Document Type : Research Article

Authors

1 M.Ar.Research of Art, Faculty of Art, Shahed University. Tehran, Iran.

2 Art Research,Faculty of Art, Shahed University,Tehran, Iran.

Abstract

Problem statement: During the Pahlavi era, the authoritarian modernization with the government support had included all fields of culture, art, and society. During this period, Tehran’s morphology and spatial patterns have been gradually expanded that cause disregarding urbanization traditions of the Qajar era by replacing these traditions with the Modern urbanism, the painting also had surpassed the pictorial tradition of Kamal-ol-Molk’s representation and adopts a Modernist approach. The study attempts to compare Modern painting and Modern urbanism in the context of modernization and the prevalence of Modernist approaches of the Pahlavi era from a new perspective. This parallel and interdisciplinary study represent events that have formed in the short moment of history based on the same theoretical foundations and have been the cause of the appearance of forms as well as the same content in urbanism and the painting of the Pahlavi era.
Purpose: The primary purpose of the research is a comparative study of similarities and differences of the dominating geometric pattern in urbanism and the painting of the Pahlavi era. But the overall purpose of this research is to form an interdisciplinary study, with the assumption that methodological and interdisciplinary study from a new point of view can lead to newer horizons and interpretations.
Research method: This essay based on Grounded Theory will examine two fields of urbanism and the painting in a descriptive-analytical view and with a comparative approach, and the grid geometry as a common formal principle will be studied in urbanism, as well as the works of Modernist painters such as Jalil Ziapour and Marcos Grigorian.
Conclusion: Modernization and the prevalence of artistic Modernism can be known as the cause of formation of the new form and the content in urbanism and the painting during the Pahlavi era. Attaining new interpretations of the paintings and commonalities between the two fields of urbanism and the painting, including separation from history, attention to the novelty and the New, as well as the prevalence of new forms are the findings of this essay.

Keywords

References

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