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

Document Type : Qualitative Research

Authors
Asghar Fahimifar 1
Bagher Bahram Shotorban 2
Mohammad Ali Safoora 3
Yoones Sekhavat 4
1 Associate Professor, Tarbiat Modares University, Tehran, Iran,
2 PHD Candidate in art research in Tarbiat Modares University
3 Assistant professor, Tarbiat Modares University, Tehran, Iran
4 Assistant professor, Tabriz Islamic Art University, Tabriz, Iran
10.48311/eijh.31.1.39
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.

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The International Journal of Humanities
Volume 31, Issue 1
Winter 2024
Pages 39-63