Fahimifar, Asghar, Bahram Shotorban, Bagher, Safoora, Mohammad Ali, Sekhavat, Yoones (2024). The Visual Adaptation of the Traditional Persian Paintings for Animation: A Study of Kerm Haftvad from Hezar Afsan Animation Series. , 31(1), 39-63. doi: 10.48311/eijh.31.1.39
Asghar Fahimifar; Bagher Bahram Shotorban; Mohammad Ali Safoora; Yoones Sekhavat. "The Visual Adaptation of the Traditional Persian Paintings for Animation: A Study of Kerm Haftvad from Hezar Afsan Animation Series". , 31, 1, 2024, 39-63. doi: 10.48311/eijh.31.1.39
Fahimifar, Asghar, Bahram Shotorban, Bagher, Safoora, Mohammad Ali, Sekhavat, Yoones (2024). 'The Visual Adaptation of the Traditional Persian Paintings for Animation: A Study of Kerm Haftvad from Hezar Afsan Animation Series', , 31(1), pp. 39-63. doi: 10.48311/eijh.31.1.39
Fahimifar, Asghar, Bahram Shotorban, Bagher, Safoora, Mohammad Ali, Sekhavat, Yoones The Visual Adaptation of the Traditional Persian Paintings for Animation: A Study of Kerm Haftvad from Hezar Afsan Animation Series. , 2024; 31(1): 39-63. doi: 10.48311/eijh.31.1.39

The Visual Adaptation of the Traditional Persian Paintings for Animation: A Study of Kerm Haftvad from Hezar Afsan Animation Series

The International Journal of Humanities
Article 3, Volume 31, Issue 1, 2024, Pages 39-63    PDF (4.69 M)
Document Type: Qualitative Research
DOI: 10.48311/eijh.31.1.39
Authors
Asghar Fahimifar1; Bagher Bahram Shotorban* 2; Mohammad Ali Safoora3; Yoones Sekhavat4
1Associate Professor, Tarbiat Modares University, Tehran, Iran,
2PHD Candidate in art research in Tarbiat Modares University
3Assistant professor, Tarbiat Modares University, Tehran, Iran
4Assistant professor, Tabriz Islamic Art University, Tabriz, Iran
Abstract
As a result of introducing European art to traditional Persian painting, the multidimensional space of the traditional Persian painting tended to linear space. In other words, the Persian painting based on the positional perspective created a multi-dimensional space and another method based on linear perspective was done to create a temporal and spatial unity. The confrontation between the two methods remained challenging until the present day. Contemporary artists have used tricks to resolve that challenge, one by using new media as a modified version of the old medium. In this regard, animation as an up-to-date medium has been able to develop the traditional Persian painting narrative and aesthetic capabilities by visually adapting them. But the question that arises is what features should this type of animation have? Or what changes does the traditional Persian painting require in connection with the field of moving pictures? This research attempts to examine the principles and visual characteristics of two media, and the main goal is determining the scope of necessary changes in the traditional Persian painting based on the aesthetics of animation. Hence, it examines how this was done in "Hazar Afsan- Kerm Haftavad" as one of the new animation productions.
Keywords
Traditional Persian Painting; Animation; Narrativity; Perspective
References
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