چکیده:
The depiction of a visual phenomenon, and the speech of a painter, is a mixture of lines and colors. The entanglement of line and color, which is nurtured in nature in the best possible way, on a canvas is like words that an orator places next to each other so that a sentence and then sentences of writing take shape. This writing attempts, relying on the principles of modern semantics, to bring the entanglement of colors and lines of a painting into the valley of words regarding a great and real event: this painting is named 'The Era of Ashura'. Although this depiction is not the first and last word regarding the event of Ashura, but rather one of the possible perspectives that an artist can have about this event. The effort of this article is to show how various factors employed in this artwork have worked together to convey an important message to the viewer: the event of Ashura is a continuity, and the absent hero is a present observer.
خلاصه ماشینی:
The effort of this article is to show how various factors employed in this artwork have worked together to convey an important message to the viewer: the event of Ashura is a continuity, and the absent hero is a present observer.
However, another very important factor that tells of the dependence of this visual world on a "non-here" or sublime world is the absence of the hero to whom the horse belongs: thus, the world depicted in this image is a secret world; there is something that does not emerge into the realm of manifestation, and in terms of semantic data, such a thing is called a "mystery" or "secret," which is not visible to the material eye or the earthly gaze.
One of the points that indicates the existence of an eye is the teardrops, which are observable in the image in two forms: first, the teardrop flowing from the horse's eye, and second, the dark, wavy draperies that are depicted like flowing and continuous teardrops.
The curvature of the palm tree trunks, the curve and semi-circle evident in the lines forming the tent, the curvature of the head, neck, and back of the horse, the set of curves created by the bodies of the dark-clad humans, and likewise the semi-circles that shape the sword sheath and the horse's saddle, all express one thing: the very heavy grief, sorrow, and mourning that governs this visual world.
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