Abstract:
In Iranian art history, Kazem Chalipa is recorded as one of the pioneer Iranian artists who are known as painters of Islamic Revolution. He has been a painting student of Hannibal Alkhas at Tehran University Faculty of Fine Arts and under his supervision he learned and gained experience. Since being grown up in a religious family, with the advent of the revolutionary movements, he joined the artists who believed in committed social art and created works influences by the society. These artists artistically returned to the society the sense they have received from; the path that continued during the years of Iran-Iraq war and then after.
In this paper, the artist’s viewpoints about Islamic Revolution and Sacred Defense paintings are discussed. Then, among twelve works of his which have reflections of Iran-Iraq war, three works focusing on the role of women/mother are analyzed. These studies showed that Chalipa is an ethnographer. He uses a variety of symbols. Signs of Ghahve Khaneh (Coffee House) Art can be clearly traced in his works and women/ mothers are the subjects of many of his works. Chalipa has painted them in different ages: young, adult and aged and has tried to depict them with their ethnic garments while his main intention is to emphasize the role of women and their protective spirit and role in contemporary social events, particularly in Islamic Revolution and Sacred Defense.
Machine summary:
"The Analysis of War Reflections in Kazem Chalipa’s Paintings According to Panofsky Case Study: Three Works on the Theme of Mother/ Woman Minoo Khany* Christophe Balay** Mostafa Goudarzi*** Abstract In Iranian art history, Kazem Chalipa is recorded as one of the pioneer Iranian artists who are known as painters of Islamic Revolution.
Among his paintings, there are 12 works that are recognized to be inspired by the war: Marzbanane Dashte Shaqayeq 1980 (or the Border Guards of poppy field), Jangavaran Jebheye Noor 1980 (or the Fighters of the Light War Front), Isar 1981 (or Sacrifice), Talayedaran Noor (or the Pioneers of Light)1982, Khoon Bar Shamshir Pirooz Ast (or Blood Wins over Sword) 1983, Moqavemat (or Resistance) 1983, Mooshhaye Sekkeh Khar (or Coin-eater Mice)1984, Kavir (or Desert) 1984, Basiji 1985, Mohajeran (or Immigrants) 1986, Zendegi (or Life) 1986, and Didar 1995 (or Meeting); (Fig. 1 to 12).
In the third level takes time and place and synthetic analysis: Big green piece that was full of signs of life, Burnt City Khorramshahr and its central mosque, the mysterious and warm colors of that afternoon, the appearance and the hope in the face of the white-wearing man who was plowing the land, and a woman whose sufferings reminds of Lady Zainab, the sister of Imam Hossein; a woman in whose face Chalipa reflected the sufferings of the women in Karbala Desert In the first level, here can be read the painter’s interest in depicting the role of women is vivid in the first plan that is wearing a white scarf and black chador."