In 1948 the Iranian painter Jalil Ziapour (1920–1999), together with his artistic colleagues, the writer Gholam Hossein Gharib (1923–2003), playwright Hassan Shirvani (birth/death date unknown), and composer Morteza Hannaneh (1922–1989), founded the Fighting Rooster Association (Anjoman-e Ḵorūs-e Jangī) to promote the new emerging modernist arts in Iran. Jalil Ziapour and the Fighting Rooster Association were the leading representatives of cubism in Iran, which arose as a movement in the 1940s and offered Iranian artists like Ziapour a suitable vocabulary to elaborate an artistic subjectivity based on Iranian heritage. At the same time, it also helped to promote the Fighting Rooster Association’s aims to foster democratic hopes for the Iranian nation. This article focuses on Ziapour’s works and texts in light of Orphic cubist theory and highlights the beginnings of modernist art in Iran, the global entanglements of modernism, and the search for an Iranian art beyond orientalist painting traditions and exotic depictions of being the “other.”1 Ziapour’s artistic practice illustrates how experiences of migration and transcultural processes of translation shaped the development of modernist arts in Iran. He became familiar with European modernist art during his studies at the École des Beaux-Arts, and with cubism, in particular, at André Lhote’s private art school. As one of the representatives of Orphic cubism, Lhote provided his students with an insight into the cubist language of forms. Orphic cubism was strongly shaped by the writings of the philosopher Henri Bergson. The anti-rationalist and anti- positivist underpinnings of Bergson’s thought helped to establish cubist artistic language and theories of visual 1/14 perception. Bergsonian theory also provided the basis for their political efforts to articulate an alternative, leftist nationalism before World War I. The strong connection between political commitment and artistic expression played a crucial role for the activities of the Fighting Rooster Association, and a closer examination of their writings demonstrates that their aesthetic principles were also informed by Bergson, translated in the Iranian context through tropes of Sufism. The recourse to Bergson’s metaphysical ideas enabled the Iranian artists to proclaim an alternative cultural identity rooted in Iran’s spiritual heritage, in order to counteract the adopted rationality of modernity as practiced in Iran.

This thesis focuses on the currents of thought that influenced the occurrence of the Islamic revolution through two art movements flourishing prior to the revolution, the Khorus-Jangi and Saqqa-Khaneh, with reference to the ideology of the Gharb-zadegi by Jalal Al-e Ahmad. The Khorus-Jangi in the late 1940s and Jalal Al-e Ahmad in the 1960s both said “No” to the ideas prevailing their society, and raised a revolution in their own way, hence there are shared factors and key concepts between them. The key concepts are Blind imitation, Illusionary Modernity, Shi’ite, and Ethnography. Jalal Al-e Ahmad criticized the Iranian society for blind imitation of the West that created illusionary modernity. He investigated the Iranian society from Ethnographical perspectives, and as a result adopted Shi’ite Islam to confront such a situation. Meanwhile, Jalil Ziapour the founder of the Khorus-Jangi, further criticized blind imitators of the West. Ziapour also contributed to Ethnographical researches, and suggested alternative styles of art to counteract the illusionary modernity in art. He called this style Beina-Bein, which means “between” in the Persian language. The Beina-Bein is a motif between familiar and unfamiliar figures, and it is capable of conveying Iranian ideologies and identities that are not merely the blind imitations of the West. It was in 1960s that the Saqqa-Khaneh used the motifs of Shi’ite Islam as the Beina-Bein, and as a result, the Saqqa-Khaneh raised a revolution of art. The art movement of the Saqqa-Khaneh was a representation of the ideology of Ziapour, as the Islamic Revolution was the representation of the ideology of Al-e Ahmad. With reference to the shared ideologies between Ziapour and Al-e Ahmad, as well as by considering the shared Islamic aspects of the revolution in 1979 and the works of the Saqqa-Khaneh in 1960s, it is evident that the revolution of art by the Saqqa-Khaneh was a representation and foreshadowing of the soon coming political revolution. Key terms: blind imitation, illusionary modernity, Shi’ite Islam, ethnography, revolution of art, the Islamic revolution

The idea of memory from the XV Flaming history of music deals with the overlapping continua, denigrated note to become a full experiment of spiritual listening in practice: what a truth action is. The conversion point of Moebius. From the text ‘Human’ of Cartesio published posthumously, to the environment for a philosophical thought of Croce in some aesthetic crisis (Anceschi) the idea of ‘tempo’ has taken in advance question of field, plan, homological issues to establish a scientific cognition of facts, deeds, thoughts. The discovery that the drawing master of Cézanne thought his elementary method of analysis (Cavina), brought in light the opportunity of disguise on mannerism more freely in the research of a fourth syllogistic call for arts, than before to let be possible the learning from the early masterpiece the Euclidian illusions of the touching corners of a triangle in Lisippo, its closure in a cube of the self of a surrender pugilist as well as the circular overspreading motion of desperation of the Lacoonte. Therefore, to reconstruct and develop some observation of the method of relief of the perspective of Poncelet, left overtly a possible explanation of the right of the fugue: the real setting. A purpose with a pragmatic issue, to seizure and code, which recalls Renaissance: the rediscovery of the Plato’s cave, as a good since Piero della Francesca. In a few years, some cases showed their contradiction and misfortune: the ‘difformity’ of Rothko, of David, and the ‘paganism’ of classics as Michelangelo. The disappearance of Raffaello, Leone X and Leonardo and the visual rhetoric of Tiziano as anticipation, or late, post figurative issue? The state of art semiotics though shaped in the continuous of the Academy of Arts, may need to inform cases of a natural light of recognition of the Second Wars, drag into revenge, solitude, the artists gathered in ruptures with the process for its ideological foundations seemed clear to all, from Pablo Picasso to Pierre Soulages, Emilio Vedova. Keywords Cartesian structures - Croce builds - Barilli’s generations Husserl’s scheme - The point of view deal as in Fontanille; Clock – unlock theory: Poncelet summary of perspective and fugue; Mark Rothko abstractions - Studies: Thurlemann - DaSilva reactions/abstraction as relief in composition – disposition – proportion, the reasons and the energy of the masterpiece (William Blake)

Peacock motifs have a long historical background and mythological significance in the Indian subcontinent. It is one of the most dominant motifs used in Pakistani truck art. This paper examines and compares several selected peacock motifs painted on trucks from different regions in Pakistan. It analyses the different shapes and styles of peacock motifs based on their aesthetic forms and themes particularly of religious and patriotic elements. By employing visual rhetoric theory of artefact proposed by Sonja K. Foss and Aristotle’s rhetorical triangular spectrum, this paper explores the characteristics, features, and persuasions of these peacock motifs as well as its variety of stylised forms with intrinsic appearances, patterns, placements, and influences of the regions’ cultures in truck arts.

This article analyzes the dominant dichotomy in cultural and artistic ideas which Iranian artists—like many non-Euro-American artists—have been forced to confront. These include the idea of ‘contemporaneity’: being imbued with the ‘spirit of the time’, particularly dominant in the minds of the so-called ‘Third Generation’; 1 and ‘specificity’, an underlying precept of compelling force. The first involves the idea that ‘postmodernist’ imagery is one of fragmentation and hybridization—the scattering of traditions and the recombination of their diverse elements (see Campbell 1999: 5). The second refers to the ever-present obsession with cultural and frequently social concerns with which Iranian artists are engaged, both within the country and across the diaspora. Contemporary debate on Iranian art reveals deep-rooted anxieties about national and cultural identity. It raises the important question: Is it possible to open up an art practice and discourse that is both contemporary and global, but also indigenous and specific? While this work reflects my own observations, it also relies heavily on the analysis offered in interviews with artists, philosophers, critics, curators and some former administrators in artistic affairs. It finally focuses on four artists through a study of their works and ideas about the aforementioned issues.

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazlı Hanım, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazlı's strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazlı portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazlı's inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazlı Hanım's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazlı Hanım's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture.