PhD Graduate

PhD program:: XXXIII

supervisor: prof.ssa Carla Subrizi

Thesis title: The main paradigms of representation of the feminine figure in Iranian contemporary art after 1979

In the last two decades Iranian artists have presented the image of local feminine figure in different ways and this approach has become one of the main a and most appraised internationally. This research is focused on the main paradigms of the representation of the feminine figure in Iranian contemporary art. Not just because this approach of Iranian artists can be considered as is one of the most apprized in international circuits also for its importance even in Iran. Since the artist who worked on these themes turned to be one of the most influential and eminent figures for representing Iranian art out of its national borders.They have been followed for their powerfulness and expressiveness by their younger generation in other mediums such as short filmmakers, video art short films, and even though many media after them got a tendency and changed their production style. The presentation of Iranian women can be divided into three main paradigms and, for sure, with their sub-variations. Despite all difficulty, the main goal of this research is to find the sources from which are originated these paradigms and expand the following questions: Why the study of woman's limitation in Iranian society has importance in these three paradigms? Moreover, what are the social sources which inspired the artists? The three main paradigms are : 5 5 1. Representation of Qajar women 2. Representation of Hijab 3. Representation of censorship Each of these paradigms deserves to be analyzed through its local function and be decoded in that area. Moreover, to decipher their local meaning in each chapter, I tried to analyze them based on historical evidence gathered from underground and mostly unpublished governmentally as sources related to these three paradigms. The sources which were experienced mostly through the social life of a local as an observer and researcher enriched this research through original sources. This research aims at examining and penetrating the roots of each paradigm that have influenced Iranian artists. On the other hand, this research has studied these effects, readouts, and decodes from their sociological, political, and social aspects to understand the artwork more deeply. These Iranian contemporary artists may be the best samples to accomplish a mission "aestheticizing censorship when aesthetics are censored." They have demonstrated their concerns based on past limitations. Despite being progressive and possessing an active soul, a motif can be inferred to be rooted in censorship, limitation, and exclusion in a patriarchal society. From this aspect, these artists' position is eminent and influential in Iran art history.

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