Abstract
Different factors were affecting the presence of women during the Pahlavi era. In new structures after the constitutional period and along with the absolute modernism of Pahlavi, discourses changes were made based on democracy, socialism, Shia resistance and autonomy, court to government and political figures to people. During this period the role of women was formed on the basis of their social position and in their gender approach it changed from a <class in itself> to a <class for self>. The consequences of social contexts led to witness more active presence of women during Pahlavi era compared with the past periods particularly in the visual arts arena; so that the history of the Tehran galleries from 1953-1978 which reflects their activities during that time confirms this fact. The purpose of the present essay is to analyze the social contexts which have attracted women from margin to the center and attending to them since no study has been done in this respect seems essential and it’s an attempt to answer the question that what social contexts have been influential in boosting up the presence of women especially women painters of Pahlavi era? In this research the data collect is library type and filed study and it has been compiled in a comparative descriptive-analytic method, the origin and social contexts of the women painters of the Pahlavi era whose works were displayed were studied and analyzed and it can be inferred that the presence of supportive men in families, education, social context, urban life, publicizing the culture thanks to the cultural foundations and media, the actual and legal presence of the queen, government support due to cultural policies, women social movements, and the transformation of the women role in twentieth century had decisive role on enhancing the social position of women particularly the role of the women painters of the second Pahlavi era.
Highlights
The painting art of Iran which for centuries was limited to illumination and illustration and mural, was a school-oriented art which was mostly under the protection of the rulers and its tastes, position, and geographic center was in direct relation with the change of governments and the individualistic presence of the artist-signature- and the role of the women painters is very rare in it
Increasing publicizing of the culture and the education by the rise of civil demands; moved women outside the houses and this released energy by the establishment of the Pahlavi government along with the absolute modernism and the enhancement of the will towards the power of women led to the rise of their social position compared with past periods so that in the filed of professional visual arts and in painting, during 1966-1978 we observe the display of works of women in Tehran galleries
Vol 9, No 3; 2016 its position with a look at active presence of women painters in visual arts field so that the analysis of this issue provide the answer to the question that what were the social contexts of women painters in Iran during the Pahlavi era? To put it in nutshell, the data about these women has been analyzed along with the social and cultural history of the women based on the art, women and painting
Summary
The painting art of Iran which for centuries was limited to illumination and illustration and mural, was a school-oriented art which was mostly under the protection of the rulers and its tastes, position, and geographic center was in direct relation with the change of governments and the individualistic presence of the artist-signature- and the role of the women painters is very rare in it. Increasing publicizing of the culture and the education by the rise of civil demands; moved women outside the houses and this released energy by the establishment of the Pahlavi government along with the absolute modernism and the enhancement of the will towards the power of women led to the rise of their social position compared with past periods so that in the filed of professional visual arts and in painting, during 1966-1978 we observe the display of works of women in Tehran galleries. Vol 9, No 3; 2016 its position with a look at active presence of women painters in visual arts field so that the analysis of this issue provide the answer to the question that what were the social contexts of women painters in Iran during the Pahlavi era? To put it in nutshell, the data about these women has been analyzed along with the social and cultural history of the women based on the art, women and painting
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