THE ROLE OF SAGHA-KHANE (DRINKING-FOUNTAIN) IN NATIVISM OF IRAN CONTEMPORARY PAINTING
Abstract
This article has been done with the aim to study the effect of Sagha-khane school in nativism of Iran contemporary painting. The artists of Sagha-khane who entered the traditional elements with modern form, reached to such a form that communicated neither with traditional culture characteristics of Iranian new society, nor it could be called modernism or modernism alternative due to lack of social and philosophical grounds . So the works of Sagha-khane artists cannot be established in a place higher than nativism. Of course in this way, the role of politicians who were seeking national identity and simplicity and wanted to mix traditional arts with modernism, can’t be ignored. With respect to the investigations that have been done in this article, it is obvious that verbal method of that decade has often been for revelation of the ambiguities of the crises in mixing of western culture with native grounds. The painting of Sagha-khane is seeking peaceful mixture of them and is indifferent to other elements of culture and society. In fact we can say that Sagha-khane school, with mixture of tradition and modernism and infusion of traditions, pays attention to modern arts like Iranian contemporary painting and this nativism can be seen in the works of the painters like Zenderoodi and Emami.
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