Akademik Veri Yönetim Sistemi
Tezin Türü: Doktora
Tezin Yürütüldüğü Kurum: Tabriz Islamic Art University, islamic arts faculty, İran
Tezin Onay Tarihi: 2023
Tezin Dili: Farsça
Öğrenci: Reza Rafiei Rad
Danışman: Mahdı Mohammadzadeh
Özet:
The contemporary painting of Afghanistan is a period of ups and downs that started from the second era
of reforms related to the Amani era. And the continuous political and social changes after that have had
different and sometimes opposite effects on it. As during an era, such as the Taliban era, an order was
issued to ban art, and on the contrary, during the era of Amanullah Shah or Hamid Karzai, the
government supported art and artists. Despite the efforts of Shahrani and Shabnam Gharnavi and other
recent researchers, a comprehensive history of contemporary painting in Afghanistan has not been written
and its analysis is a necessity. The current research has been carried out with the aim of collecting works,
identifying painters and analyzing contemporary painting in Afghanistan in the form of discourse
analysis. The main questions of the research are, firstly, what are the discourses of contemporary painting
in Afghanistan? How each discourse has been formed in the context of political and social currents? The
secondary question is, what are the characteristics of the contemporary painting of Afghanistan compared
to the contemporary painting of the world? The current research was carried out with the post-structuralist
approach and the discourse analysis method of Lacla and Mofe, which analyzed each discourse in three
stages: emergence, peak and decline. The statistical population includes all painters who created works
from the second period of Amani reforms to the end of the Karzai period (1923 to 2014). And among
them 192 painters were selected with non-random sampling and with a targeted metods. Data has been
collected through library, archival, internet. The findings of the research show that the contemporary
painting of Afghanistan can be analyzed and investigated based on three discourses of western academic
painting, the discourse of national identity in painting and the discourse of women's painting. In the
discourse of Western academic painting, progressive painting is the central sign. In this discourse, the
floating signifiers with the semantic significations of the Kantian mechanism, the academy, western
materials, the subjective role of the artist, and pure art have become moment, and other signifiers have
been marginalized in the field of discourse. At the peak stage, the chain of equivalence of the discourse of
tradition was disrupted and the empty sign of civilized national art, in a metaphorical form, depicted a
new objectivity in the minds of the subjects, and after the mythologizing of the discourse, with the
hegemony of all the signifiers, the discourse also became hegemonic. In the discourse of national identity
in Afghan painting, as a result of the alienation of this discourse with the previous discourse, the signifiers
that were out of the field of discourse became temporary around the central signifier of contemporary
painting. This discourse has reached its peak by relying on the emptiness of the concept of nationality in
an empty signifier and by disrupting the equivalence chain of the western academic painting discourse.
And the empty signifier of the globalization of Herat painting, by highlighting the visual and content
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values of the Herat school of painting and marginalizing some floating signs that were fixed in the
previous discourse, the discourse was mythologized and hegemonic. And the empty signifier of the
globalization of Herat painting, by highlighting the visual and content values of the Herat school of
painting and marginalizing some of the floating signifiers in the previous discourse that were established,
mythologized the discourse and became hegemonic. The discourse of women's protest painting emerged
with the change in the status of women in the Karzai era. This discourse emerged by creating an
atmosphere of hostility and alienation with everything that happened in the past periods, especially during
the Mojahedin and Taliban eras, regarding the violation of women's rights. During this period,
Afghanistan joined the international human rights and women's rights conventions of the United Nations
and passed laws supporting women's rights, opening all political, cultural and economic fields for women.
The chain of equivalence of the national identity discourse in painting, which relied on the patriarchal
identity of the painting history of this country and had overcome ethnic, religious and gender differences,
was broken by the discourse of women's protest painting. The discourse of women's protest painting
emphasized on women's independent identity, women's rights and women's participation in
modernization, with the elimination of gender discrimination. As a result, the discourse of women's
protest painting with the empty sign of gaining identity and women's participation in the cultural
modernization of Afghanistan became a new social objectivity and turned the field of painting into a
battleground for women's identity.