نوع مقاله : مقاله پژوهشی
نویسنده
دانشجوی دکتری پژوهش هنر، پردیس هنرهای زیبا. دانشگاه تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
The field of Iranian painting in the years before and after the revolution, rather than being important in innovation and creativity or the power and ability of the artist in presenting style and art form, in creating a gap based on The change in the position and role of the art and the artist created is of special importance. In the mid-1950s, a protest painting by a group of young students led by Hannibal Al-Khas rose to prominence against the legitimate art of the time, abstract and modern art, and instead of the slogan Art for Art, Art The artist committed and spoke in the face of social events. With the establishment of the Islamic system, the protest art movement was divided into two branches. A group was attracted to the art field and continued their previous activities with an emphasis on religious identity and its symbols. The second group continued to move towards purer and more personal art, creating works that showed less explicit national and revolutionary commitment. In this article, using Bourdieu's field theory and the concept of strategy, we show that second-tier artists took steps to overthrow legitimate art, as opposed to the realm of art - which is realist and popular art. Promoted-placed. That is, they demanded a return to the origins of art. Hence, they chose a multifaceted, complex and pure language. Of course, it should not be overlooked that this strategy for restoring dignity has been carried out quite honestly and impartially, because it is the result of an unconscious relationship between habitus and the field.
کلیدواژهها [English]
)