Abstract
Artwork interpretation in a simple word is an explanation of the meaning of art. The audiences play an important role in art and forms one of the three vertices of artwork triangle: artist, artwork and audience. If we consider artwork as a process, the audiences are the outcome of the work and is the one that created for and to be seen by them. Therefore, feedbacks or interpretations and readings of them have an important place in art critique. Iran's miniatures in different eras have experienced a variety of audiences from kings to ordinary people that affect this art. Therefore, it is expected that different kinds of interpretations have been observed. The research carried out through descriptive-analytical method, by comparing old and contemporary Iranian epic miniatures seeking to answer the question of what are the kinds of artwork interpretation in old and contemporary Iranian epic miniatures? The findings of this research shows that old paintings have created interpretations based on the author's intention and contemporary painting with a hermeneutical approach made multiple interpretations of the artworks.
Highlights
The concept of the audience at first was the sum of simultaneous recipients at the end of the linear transmission of information process
The audiences have become an important contributor to art and artwork’s interpretation
Creating an artwork is a process that begins with the artist and leads to the audience
Summary
The concept of the audience at first was the sum of simultaneous recipients at the end of the linear transmission of information process. Considering that in the 17th century, Europeans traveled to Iran and Western influences came to the country, Reza Abbasi did not engage in shadowing and western perspective in his paintings, but using pen, he drew lines with different thicknesses In his works, he gives full attention to the nature. He became a master in nature with watercolor He was the first young-fashioned miniature teacher at the Higher School of Industrial Arts "The High School of Arts and Arts of Iran." Adding bright shadows to the faces of his images and using perspective, Tajvidi changed the way of painting. Behzad returned the painting to his own direction and cleared the effects of Russian and foreign works from Iranian painting (Pakbaz, 2008: 577-601) During these periods, many changes occurred in Iran’s art, one of the most important of which was the change of the audience(s). Before examining the various types of interpretations of Iranian art, we briefly discuss the types of interpretations of artwork
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