New painting is one of the currents of contemporary Iranian art in which artists have tried to look to the past while harmonizing their works with new developments in terms of both content and form. Mahmoud Farshchian, as one of the most prominent representatives of this current, was able to achieve a personal style in his work. In most of his works, the human image plays a central role. Given that no comprehensive research has been conducted on Farshchian's view of humans, the present study aims to study the evolution of the human image in the artist's paintings with respect to Erwin Panofsky's iconographic approach. The main question of the research is what has been the process of changing the representation of the human image in Farshchian's paintings. The statistical population of this research is those works of Farshchian that contain human figures, and 10 paintings from the statistical population were purposefully selected as the sample size. The method of collecting information is library, and the research method is descriptive-analytical. The findings of the research indicate that the early paintings, which belong to his youth, mostly show authentic Iranian painting patterns in drawing the human face, including moles and arched eyebrows, bud lips, and drooping eyes. While in the works from the final decades of the artist's career, human figures are depicted with greater realism, more precise details, and emotional expressions. Imagination and the intertwining of the figure with space are other characteristics of Farshchian's works in the latter part of his career.
Humans have always been one of the most common subjects in the works of Iranian painters. Mahmoud Farshchian fundamentally changed Iranian painting with his new style and achieved a personal style. The content of his works arose from the depths of his being and was formed according to his beliefs, which shows his attitude towards humans and other phenomena of existence. The element of imagination in the artist's works is considered one of the most important pillars, which is one of the most difficult philosophical topics. Understanding this faculty is considered one of the keys to understanding the beauty in his artistic works. On the other hand, Farshchian's new perspective on the characters in his paintings has not been looked at in a precise and meticulous way. In other words, the scientific gap in previous research is the lack of a comprehensive and complete analysis of the human image in this artist's works. This research was based on the fundamental question of how the image of man in Farshchian's paintings evolved in relation to its historical world. The aim of this research was to understand the evolution of the image of man in his paintings in relation to its historical world. This research was compiled in a descriptive-analytical manner, and it is worth noting that all analyses are carried out in five stages, considering the artist's historical world, including information related to the work, the thematic group of the painting, reading the painting, hidden concepts in the work, and the final stage of studying and analyzing the image of man in the paintings. The data collection method was also library and documentary, while the sample population of this research is those works of Farshchian that contain human images, and ten paintings from his collection were selected for the sample size. Finally, we see that over time, the light and shadow that enters his work makes the volume more prominent and makes the form appear more realistic. The faces are drawn with more detail and the figures are more elongated in terms of body, giving them a sense of liberation and freedom. The imaginative space added in his latest works sometimes swallows the figure and we witness the figure's body becoming one with the space.
The importance of Farshchian's role in contemporary Iranian painting is revealed when we understand that when European culture penetrated the borders of Iran at the end of the Safavid period, it caused the decline of Iranian painting, but she devoted herself to its revival and was able to revive it with a new style. In terms of the difference that her new painting creates compared to the old, we witness the coloring that is seen in multiple layers, which is completely opposite to the surfaces that were executed in flat form in the past. In his works, texture and volume are clearly visible, and he is more faithful to nature and anatomy than in the past. He even works differently in terms of lighting, introducing localized lighting into his paintings. While in the works of ancient painters, light was widely diffused. In Iranian painting, in most cases, man, who himself has the specific external characteristics of painting, was one of the elements of the story, which was sometimes mentioned as the main theme and subject of the story. Mahmoud Farshchian's paintings are also examples in visual arts that benefit from the presence of this role in a new way. In a large number of his works, of which we will encounter and examine a few examples in this thesis, he depicts man in the form of a prophet, a guide, a wise old man, or even in the form of a beautiful woman.
New painting is one of the currents of contemporary Iranian art in which artists have tried to look to the past while harmonizing their works with new developments in terms of both content and form. Mahmoud Farshchian, as one of the most prominent representatives of this current, was able to achieve a personal style in his work. In most of his works, the human image plays a central role. Given that no comprehensive research has been conducted on Farshchian's view of humans, the present study aims to study the evolution of the human image in the artist's paintings with respect to Erwin Panofsky's iconographic approach. The main question of the research is what has been the process of changing the representation of the human image in Farshchian's paintings. The statistical population of this research is those works of Farshchian that contain human figures, and 10 paintings from the statistical population were purposefully selected as the sample size. The method of collecting information is library, and the research method is descriptive-analytical. The findings of the research indicate that the early paintings, which belong to his youth, mostly show authentic Iranian painting patterns in drawing the human face, including moles and arched eyebrows, bud lips, and drooping eyes. While in the works from the final decades of the artist's career, human figures are depicted with greater realism, more precise details, and emotional expressions. Imagination and the intertwining of the figure with space are other characteristics of Farshchian's works in the latter part of his career.
Humans have always been one of the most common subjects in the works of Iranian painters. Mahmoud Farshchian fundamentally changed Iranian painting with his new style and achieved a personal style. The content of his works arose from the depths of his being and was formed according to his beliefs, which shows his attitude towards humans and other phenomena of existence. The element of imagination in the artist's works is considered one of the most important pillars, which is one of the most difficult philosophical topics. Understanding this faculty is considered one of the keys to understanding the beauty in his artistic works. On the other hand, Farshchian's new perspective on the characters in his paintings has not been looked at in a precise and meticulous way. In other words, the scientific gap in previous research is the lack of a comprehensive and complete analysis of the human image in this artist's works. This research was based on the fundamental question of how the image of man in Farshchian's paintings evolved in relation to its historical world. The aim of this research was to understand the evolution of the image of man in his paintings in relation to its historical world. This research was compiled in a descriptive-analytical manner, and it is worth noting that all analyses are carried out in five stages, considering the artist's historical world, including information related to the work, the thematic group of the painting, reading the painting, hidden concepts in the work, and the final stage of studying and analyzing the image of man in the paintings. The data collection method was also library and documentary, while the sample population of this research is those works of Farshchian that contain human images, and ten paintings from his collection were selected for the sample size. Finally, we see that over time, the light and shadow that enters his work makes the volume more prominent and makes the form appear more realistic. The faces are drawn with more detail and the figures are more elongated in terms of body, giving them a sense of liberation and freedom. The imaginative space added in his latest works sometimes swallows the figure and we witness the figure's body becoming one with the space.
The importance of Farshchian's role in contemporary Iranian painting is revealed when we understand that when European culture penetrated the borders of Iran at the end of the Safavid period, it caused the decline of Iranian painting, but she devoted herself to its revival and was able to revive it with a new style. In terms of the difference that her new painting creates compared to the old, we witness the coloring that is seen in multiple layers, which is completely opposite to the surfaces that were executed in flat form in the past. In his works, texture and volume are clearly visible, and he is more faithful to nature and anatomy than in the past. He even works differently in terms of lighting, introducing localized lighting into his paintings. While in the works of ancient painters, light was widely diffused. In Iranian painting, in most cases, man, who himself has the specific external characteristics of painting, was one of the elements of the story, which was sometimes mentioned as the main theme and subject of the story. Mahmoud Farshchian's paintings are also examples in visual arts that benefit from the presence of this role in a new way. In a large number of his works, of which we will encounter and examine a few examples in this thesis, he depicts man in the form of a prophet, a guide, a wise old man, or even in the form of a beautiful woman.