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On
Monday,
December
11 the
second
day of
Painting
Congress
of
Isfahan
School
Conference
went
underway
at the
main
hall of
Aseman
Cultural-Artistic
Complex.
As
the
Public
Relations
of the
Academy
of Arts
reports,
headed
by
Francis
Richard
of
France,
the
first
session
of the
program
was held
with
lectures
by
Ebadollah
Bahari,
Muhammad
Me'amarzadeh
and Ms.
Sheila
Canby
from
England.
Firstly
it was
supposed
that the
first
lecturer,
Ebadollah
Bahari
present
an
article
on Reza
Abbasi,
but as
the
foretold
article
was
printed
in a
book, he
preferred
to
change
the
subject
of his
lecture
and
discuss
on
Ali-Qoli
Baik and
Ali-Qoli
Jeebdar
who
mistakenly
has been
introduced
as an
artist.
He noted
that in
Isfahan
School
all arts
were
developed
and
upraised
in their
own
ways.
"We
must
attempt
to know
Ali-Qoli
Baik
better.
Then Ms.
Canby
gave a
lecture
in
English.
The
next
lecturer,
Muhammad
Me'amarzadeh
considered
the
issue of
"Attributed
Seals
and
Writings."
Me'amarzadeh
pointed
out that
frequently
the
registered
times of
seals
don't
correspond
to the
date of
their
creation.
He
remarked
:
"For
example
in a one
of the
remained
works,
the
registered
history
indicates
to the
year
which
Shah
Abbas
took the
rein and
it's not
corresponding
to the
date
when the
seal was
made."
At the
second
part of
the
program,
Helena
Deshtgel
and
Muhammad
A'azamzadeh
made
their
speeches.
Headed
by
Afsaneh
Nazeri,
at first
Helena
Deshtgel
observed
the
issue of
"Paintings
of the
Ascension
of Holy
prophet
Muhammed
(Peace
be upon
Him) in
Taleb
Lala.
She
regarded
the
resemblance
and
repetition
in
illustrating
the
ascension
as one
of the
features
of the
works
created
by the
ascension
illustrators
and
began
describing
an
illustration
of Taleb
Lala
called
Falak
(The
Heavens).
As a
scholar
in
painting,
she
pointed
to the
remaining
works of
Taleb
and
added:
"These
works
are
evidences
of
Taleb's
profound
studies."
The
other
lecturer
of the
second
part,
Muhammad
A'azamzadeh
made a
speech
on
"the
Mutual
Influence
of
Painting
and
Popular
Culture."
Regarding
the
three
main
points
which
are
generally
influential
in
painting,
he said:
"The
everyday
life of
ordinary
people
and
popular
customs
and
traditions,
the
association
with
literature
particularly
the
romantic
poems
and
utilizing
the
subject
matters
belonging
to the
past
schools
are
among
the
factors
which
have
always
influenced
the
painting."
He
pointed
to the
careful
drawing
of human
complexion
in
pictures
as one
of the
features
of
Isfahan
School
painting.
At the
first
part of
afternoon
session
which
headed
by
Bahman
Namvar
Motlaq,
three
lecturers,
Muhammad
Khaza'ei,
Sousan
Bayani
and
Galina
Layekova
presented
their
articles.
Ms.
Sousan
Bayani
raised
the
issue of
"Falcon
and
Falcon
Raising
in the
Paintings
of
Isfahan
School"
and I'll
still
its
influence
in
Safavid
era. She
regarded
the
white
Falcon
as a
heavenly
bird and
the
specific
symbol
of those
who are
close to
heavens.
Following
this
session,
Muhammad-Ali
Khaza'ei
made a
speech
on
"The
Key
Influential
Factors
in the
Formation
of
Isfahan
School
Painting."
He
stated:
"Isfahan
School
Painting
must be
divided
in two
periods,
the
arrival
of Shah
Abbas to
Isfahan
and the
second
period
which
was
concurrent
with the
arrival
of
paintings
with the
Western
method.
At that
specific
time
Iranian
paintings
gradually
moved
away
from
their
traditional
mode."
Galina
Layekova,
a Muslim
foreign
scholar
gave a
lecture
titled,
Conversation
with the
Language
of
Christianity,
the
Souvenirs
of the
Great
Shah
Abbas".
She
lectured
in
English.
Headed
by Ms.
Sousan
Bayani,
at the
second
part of
afternoon
session,
Zahra
Rahnavard
presented
her
article
titled:
"The
Transformation
Process
of Woman
in the
Works of
Reza
Abbasi."
The
university
teacher
projected
a number
of
pictures
which
feature
women
painted
by Reza
Abbasi
and then
began to
describe
and
analyze
them.
Hussein
Ebrahimi
Naqani
was the
subsequent
lecturer
who
remarked
on
"Human
as the
Foundation
of
Isfahan
School
Painter's
Work."
He
distinguished
the
Iranian
painting
from
miniature
and
added:
"Despite
all its
beauties,
Iranian
painting
is
imbued
with
mystery."
The last
lecturer
of this
session,
Ms.
Mandana
Barkeshly
focused
her
discussion
on an
entirely
scientific
and
scholarly
subject,
the
comparative
scientific
study of
materials
employed
in the
miniatures
of
Safavid
era in
the
beginning
of the
Indo-Iranian
relations
and
during
the
kingdom
of Sah
Tahmasb,
she also
observed
the
miniature
paintings
of
Mongols
in 16th
and 17th
centuries
A.D.
"My
research
method
is based
on
interview
with
traditional
masters
and
experts,
employing
the
historical
sources
and
ancient
manuscripts
on the
concrete
materials
of
painting
as well
as the
scientific
analysis
on the
original
models,"
Ms.
Barkeshly
stated.
It must
be
pointed
out that
the
program
came to
an end
with the
questions
raised
by
attendants
and
answers
provided
by the
scholars. |
