The Role of Letters and Calligraphy in Public Art (Comparison of Three Examples of Iranian Public Letter-Based Art with Three Non-Iranian Examples Over the Decade)

Volume 9, Issue 32
Summer 2021
Pages 17-28

Document Type : Research Paper

Author

M.A. Graphic Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran.

Abstract
This study aims at analyzing the effect of calligraphy on providing a relationship between the audience and the work in the public art context. The relationship between artistic work and audience is one of the most underlying issues in postmodern art, which can be achieved in public art more than in other types of art. Accordingly, the type of relationship caused by using letters varies in public art. This is because the letters play a cultural role as a visual element in history. To compare the effect of using letters and calligraphy in public art, three Iranian and three foreign letter-based works were compared. The study employs the descriptive method as a subset of qualitative studies.
This study aims at explaining the cultural significance and nature of letters and calligraphy in the new and postmodern arts of Iran, and its importance in communicating with the audiences in public arts.Which indicators can result in an effective audience-work relationship by using letters and calligraphy in public artworks? using letters and calligraphy in public arts can result in a better audience-art interaction in addition to its communicative function in the field of transferring the concept if it is used based on the identity background of audiences.
In the studied examples, two works of Al Seyed and Parviz Tanavoli have been recognized as successful works in the field of public art. The entanglement of these works with the urban context, and the relationship of letters with a cultural context of the audience are the most effective factors in the success of letter-based works. According to obtained results, the following characteristics can be counted for public art, which can communicate with audiences compared to other types of postmodern arts: public display, public audience availability, influencing the masses, inviting the audience to participate, creating a sense of joy and happiness, beautifying the urban space, better conveying the message, and stability of information. Also, if the proportion of language and calligraphy with the culture and identity of audiences is considered in public art that used letters and calligraphy as a visual factor, the most underlying aspect of communicating audiences in these works can be realized. Hence, one can make sure of effective audience-art interaction.

Keywords

Amani, H., Balkhari Ghahi, H. & Jabbari, S. (2021). Changing the meaning in the discourse of contemporary Iranian calligraphy from the perspective Critical Discourse Analysis. Art & Civilization of  the Orient, 9 (31), 51-62.
• Abdi, A., Gudarzi, M. (1999). Tahavolat-e farhangi dar Iran [Cultural developments in Iran]. Tehran: Ravesh Publications
• Bahrami Niko, M. & Sajjadzadeh, H. (2014). The role of public art in the creation of urban places, architecture and urban planning of Utopia, (23), 147-158.
• Barker,C. (2004).  The SAGE Dictionary of Cultural Studies. London: SAGE publication.
• Brisbane City Council. (2010). Art in Public Places. Retrieved 2021.2.11 from brisbane.qld.gov.au/things-to-see-and-do/experiences-and-culture/public-art-in-brisbane.
• Denis, M. (2019). Audience identification (M. Montazer Ghaem, Trans.). Tehran: Office of Media Studies and Planning.
• Dehghani, A. (2008). Honar-e jadid:honar-e tamoli(6): matn va taypographi [New Art: Interactive Art (6): Text and Typography: Interaction Tools]. Statue, (131), 17-71.
• Gaie, S. (2010). Public art and Space. University of Oradea: Faculty of visual arts.
• Jo Landi, P. (2012). Public Art - Purpose and Benefits: Exploring Strategy in the New England City of Pittsfield, London: w.w.
• KashmirShekan, H. (2015). Honar-e moaser-e Iran: rishe-ha, didgah-ha-ye novin [Contemporary Iranian Art: Roots, New Perspectives]. Tehran: Nazar.
• Khorasani, K. & Kafshchian Moghaddam, A. (2018). Representation of Contemporary Iranian-Islamic Identity in Contemporary Iranian Art, Journal of Oriental Art and Civilization, 6 (21), 23-30.
• Linton, N. (2003). modern art. (A. Ramin, Trans.). Tehran: Ney Publishing.
• Mareknejad, R. (2006). The modernization movement in contempoary iranian painting, Karafen,(12), 67-80.
• Manovich, L. (2001). The language of new media. Cambridge, MA: MIT Press.
• Mitrachea, G. (2012). Architecture, art, public space, ELSEVIER.Social and Behavioral Sciences, (51), 562 – 566.
• Nozari, A. (2000). Postmodernism and postmodernism Definitions of theories and applications. Tehran: Naqsh-e Jahan.
• Pakbaz, R. (2000). Naghashi-ye Iran az emrooz ta dirooz [Iranian painting from yesterday to today]. Tehran: Narestan Publishing.
• Pakbaz, R. (2008). Pishgaman-e naghashi-ye bozorg-e Iran [Pioneers of modern Iranian painting, Iran and modernity]. Interviews with Ramin Jahanbegloo. (H. Samei, Trans.). Tehran: Ghatreh Publishing.
• Rostami, M., Sarvi Zargar, R. & Eini, H. (2016). Explanation and evaluation of components of public art, Bagh-e Nazar, 14 (49), 53-64.
• Reed, H. (2008). Philosophy of Contemporary Art, (M. Taghi Faramarzi, Trans.). Tehran: Negah.
• Sturley, M. (2010). Kamacdonal Community plan for public art. Vancouver: Adoted may Publication.
• Yazdanfam, M. (2011). Developments in the Arab World: The Formation of Power and Identity in the Middle East. Strategic Studies, 14( 52), 47-77.
•Remesar, A. (2005). Urban regeneration a challenge for public art. Barcelona: Monografies psico socio ambientals Publication.
• Zamiran, M. (1998). Jostar-haei padidarshenasaneh peyramon-e honar va zibaei [Phenomenological inquiries about art and beauty]. Tehran: Kanoon Publishing.
• Zamiran, M. (2010). Falsafeei miyan-e hal va ayande: jostari dar bab-e andish-e ha-ye falsafi-ye ayande [Philosophy between the present and the future: An inquiry into contemporary philosophical thought]. Tehran: Payan Publishing.