Breaking the frame in traditional Persian paintings, a prelude to remediation

Q1 Arts and Humanities

Journal of Visual Art Practice Pub Date : 2022-09-30 DOI:10.1080/14702029.2022.2069399

Bagher Bahram Shotorban, Aliasghaar Fahimifar, Mohammad Ali Safoora, Y. Sekhavat

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Abstract

ABSTRACT Frame breaking in traditional Persian paintings, also known as Persian miniature, is a practice where parts of the frame are intentionally left open for some painting elements to exit the frame. This repeatedly occurred in this tradition; and was used methodically in Herat and Tabriz II schools. However, the motivation behind it is not completely known. Persian miniature, in its heyday, departed from its structural form and esthetic principles mostly because of its acquaintance and fusion with the then new form of European paintings and its most notable technique, linear perspective. Frame breaking could be thought of a sign of remediation and reform in Persian miniature. More specifically, frame breaking was a premediation sign, which would shape the later changes in traditional Persian paintings. As such, by emphasizing the frame, albeit broken rather than eliminating it, we become aware of the medium or media. This interpretation is adopted from hypermediacy according to Bolter and Grusin’s remediation theory. Here, an attempt is made to analyze the practice of frame breaking in traditional Persian paintings through this theory.

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打破传统波斯绘画的框架，是补救的前奏

在传统的波斯绘画中，破框也被称为波斯微型绘画，是一种故意将部分框架打开以使某些绘画元素退出框架的做法。这在这个传统中反复发生;并在赫拉特和大不里士第二学校有条不紊地使用。然而，其背后的动机尚不完全清楚。波斯微型绘画在其全盛时期偏离了其结构形式和美学原则，主要是因为它与当时欧洲绘画的新形式及其最著名的技术——线性透视——的熟悉和融合。打破框架可以被认为是波斯微型的补救和改革的标志。更具体地说，打破框架是一个预先的标志，它将影响传统波斯绘画的后期变化。因此，通过强调框架，尽管打破而不是消除它，我们意识到媒介或媒体。这种解释是根据Bolter和Grusin的补救理论，从超中介主义出发的。本文试图通过这一理论来分析传统波斯绘画中的破框实践。

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来源期刊

Journal of Visual Art Practice Arts and Humanities-Visual Arts and Performing Arts

CiteScore

0.80

自引率

0.00%

发文量

期刊介绍： The Journal of Visual Art Practice (JVAP) is a forum of debate and inquiry for research in art. JVAP is concerned with visual art practice including the social, economic, political and cultural frames within which the formal concerns of art and visual art practice are located. The journal is concerned with research engaged in these disciplines, and with the contested ideas of knowledge formed through that research. JVAP welcomes submissions that explore new theories of research and practice and work on the practical and educational impact of visual arts research. JVAP recognises the diversity of research in art and visual arts, and as such, we encourage contributions from scholarly and pure research, as well as developmental, applied and pedagogical research. In addition to established scholars, we welcome and are supportive of submissions from new contributors including doctoral researchers. We seek contributions engaged with, but not limited to, these themes: -Art, visual art and research into practitioners'' methods and methodologies -Art , visual art, big data, technology, and social change -Art, visual art, and urban planning -Art, visual art, ethics and the public sphere -Art, visual art, representations and translation -Art, visual art, and philosophy -Art, visual art, methods, histories and beliefs -Art, visual art, neuroscience and the social brain -Art, visual art, and economics -Art, visual art, politics and power -Art, visual art, vision and visuality -Art, visual art, and social practice -Art, visual art, and the methodology of arts based research