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

Document Type : Research Article


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

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


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.


Asaadi, M. (2010). Modernism, Hoviat va sonnat dar naghashi-ye moaaser-e iran [Modernism, Identity and Tradition in Persian Contemporary Painting], Jelve-y Honar, 23, 4-13.
Del-zende, S. (2017). Tahavvolat-e tasviri-ye honar-e Iran [Iranian Art Visual Development]. Tehran: Nazar Publication.
Habibi, S. M. (2014). Az shar ta shahr [From the Village to the City]. Tehran:University of Tehran Press.
Esmaeilzade, Kh. Shad Ghazvini, P .(2017). Discourses of “nationality” and their role on development of Iran modern art trends in Pahlavi era With an emphasis on art patronage institutions as mediators, Sociological Journal of Art and Literature, 9(17), 109-132.
Gasemi, V. & Negini, S. (2010).The Study of the Impact of Neighbourhood Texture on Social Identity Focusing Neighbourhood Identity in Isfahan City, Urban regional studies and research, 2(7), 113-136.
Habibi, S. M. (2017).Ghesey-e shahr: Tehran namad-e shahr-e nou pardaz-e Irani [The Story of the City: Tehran, the Symbol of Iranian Modern City]. Tehran: University of Tehran Press.
Hedayat, S. (1994). Boofekor. [Blind Owl]. (D. P. Costello, Trans.). New York: Grove Press.
Keshmirshekan, H. (2017). Kankashi dar honar-e moaser-e Iran [An Investigation of Contemporary Iranian Art]. 2nd edition, Tehran: Nazar Publication.
Mirsepassi, A. (2014). ‭‭Negotiating modernity in Iran: intellectual discourse and the politics of modernization. Tehran: Tarheh-No Publication.‬‬‬‬
Pakbaz, R. (2016). Encyclopedia of Art. Tehran: Farhang Moaser Publication.
Parnian, M. (2015). Yek vajab khak va hezar mokafat [One span of soil and a thousand punishment]. Herfe-eh-honarmand. (54), 160-172.
Refahi, H. & Javid Sabaghian, M. (2018).Contextual Analysis of Neo-traditionalism in Iranian Contemporary Art (1960s), from Foucauldian Discourse Analysis Perspective, Kimiya-ye-Honar, 6(25), 23-37.
Ravadrad, A. & Shayegan, Kh. (2013).The characteristics of audiences of Modern and Popular painting in Iran, 4(2), 39-64.
Salehifard, M. (2004). Shahr va sher [The City and The Poem]. Sher, (35), 88-92.
Shamlou, A. (2000). Bagh-e Ayeneh [The Mirror Orchard]. Tehran: Zamaneh Publication.