تحلیل رویکردهای ساختاری و محتوایی در آثارنقاشان زن نوگرای ایران بر اساس نظریه یومن ویتنی (مطالعه موردی 1320تا 1350)

Abstract:
The study of women painters and their place in society requires a structural and general look at a historical period. Given that women constitute about half of society, they play a decisive role in the empowerment and development of any society. In recent years, women have had important activities in the field of art and have been able to achieve part of their true position. They have been able to reflect a large part of contemporary art with a more powerful expression and a new view of the world. Society, culture, and mental beliefs are some of the categories that can have a profound impact on women's insight, awareness, and feelings in the field of art and deep thinking. For this reason, in the present study, the works of the first generation of modern Iranian women (1941 to 1977) have been studied using a descriptive, analytical, and structural content approach based on the theory of Yeoman Whitney. The main goal of this research is to identify the structural and content approaches in the works of the first generation of modern Iranian women painters, with an emphasis on feminine components and the identity position of female artists in the context of contemporary Iranian art. For this purpose, two areas are addressed: introducing the artist and analyzing their works.
Whitney's theory believes that women's art, unlike men's art, deals more with the inner world, emotions, and female identity, and uses soft, symmetrical forms and a combination of tradition and modernity.
Addressing how to use form, shape, composition, and aesthetics in modern paintings on the one hand, and the aspect of femininity and feminist attitudes on the other hand, has been examined in this research. This study aims to address this issue with a descriptive and analytical approach. The findings of this study emphasize that in the 1920s to 1950s, female artists who were among the first pioneers of modernist painting in Iran were considered trendsetters and influencers of contemporary painting. They worked in both the fields of painting production and teaching this art, and trained students who are considered among the best in contemporary Iranian painting. This study also shows that female artists of this period, by combining modern Western techniques and traditional Iranian visual elements, have created a unique style that, while being universal, has maintained its Iranian identity. Analysis of the works shows that these painters, by using abstract forms, soft lighting, geometric symmetry, and reflection of inner feelings, have distanced themselves from the patriarchal perspective and created a modernist feminine art.
Women painters seek to express the constraints of women's lives. But men, without considering these conditions, depict women in an imaginary space and in a vacuum. The study of contemporary Iranian painting shows that women's painting is an arena for confronting the male mentality against the object-centric woman. This research has addressed the importance of recognizing female identity in modernist art and has attempted to use Whitney's theory to reach a deeper understanding of the structure and content of the works of the first generation of modernist Iranian women artists.
Necessity and importance of the research:
A lot of research has been done on modernist painters, especially male painters in Iran, and
far, a lot of research has been done on the presence of women in society, but no specific analysis has been done on the factors of women's presence in the modernist painting process in Iran from 1320 to 1350, and this issue itself motivated the study to explore the importance of women's presence in the modernist painting process in Iran.
Research method:
This research is conducted in a descriptive-analytical manner using library documents, its spatial scope is Iran and its temporal scope is between 1320 and 1350 AH. The statistical population of this research is modernist female painters in the 1920s to 1950s and their effects on modernist art in Iran during this period, and the sample size of the research includes the works of 5 first-generation female painters,
Research question:
1- What were the structural and content approaches of modernist Iranian female painters?
Conclusion:
-.The findings show that female painters have an explanatory view of the characteristics and real conditions of women. Therefore, women's paintings are self-portraits and autobiographical. Female painters seek to express the difficulties of women's lives. However, men, without considering these conditions, depict women in an imaginary space and in a vacuum. The study of contemporary Iranian painting shows that women's paintings are an arena for confronting the male mentality against the subjectification of women. Women's art in modernist painting is not only an independent movement, but also part of the history of Iranian artistic developments that has led its visual identity towards globalization while preserving its cultural roots.