Document Type : Original Article
Authors
1
PH.D student of Islamic art, Faculty of Art and Architecture, Tarbiat Modarres University, Tehran, Iran
2
Associate professor, Department of Islamic Art, Faculty of Art and Architecture, Tarbiat Modarres University, Tehran, Iran
3
Associate professor, Department of Painting, Faculty of Art, Shahid Bahonar University, Kerman, Iran
10.22034/scart.2025.144043.1769
Abstract
In the contemporary era, the return to visual traditions in the visual arts does not mean mere imitation, but rather a kind of creative and critical reinterpretation of the past. One of the important areas of this reinterpretation is the field of contemporary painting, in which decorative elements in contemporary art have multi-layered, conceptual, and even critical functions. Majid Mehregan and Khadem Ali, contemporary Iranian and Afghan painters, are among the artists who have both recreated traditional decorative elements in a different and personal way in the form of modern painting. The purpose of this research, which was conducted in a descriptive-analytical manner and information was collected through library resources and reliable websites, is to conduct a comparative analysis of the works of these two painters in order to understand the developments in the works of contemporary painting in the field of decorative elements, which also identifies and analyzes the reflection of cultural and semantic backgrounds in their works. This research seeks to answer the question of what similarities and differences exist in the structure and meaning of decorative elements in the works of these two artists? And how are cultural elements reflected in their works? The results show that while Mehregan faithfully represents traditions with a tendency towards mystical and miniature forms, Khadem Ali, with a conceptual and political perspective, uses decorations as a modern expressive tool. Many decorative elements are used in the works of both artists in the same and similar way in terms of structure.
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