“All That Was Lost Is Revealed”: Motifs and Moral Ambiguity in Over the Garden Wall
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چکیده
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متن کاملit is not possible to understand developments of a country’s culture and civilization without knowing his believes and myths. whether it is north or south, east or west, planes or mountains, sahara or deserts, here in iran every corner includes valuable and precious treasures which are known all over the world, and cultural – historical objects which are found here adorn all well known museums of the globe. zagros mountains, lorestan province locating at the heart of that, are not only the same, but are more prominent than other iranian regions. you can not find someone who does not know what the lorestani bronzes are, and there is no museum that not be pride of having a piece of that. the said bronzes which are manufactured four millenniums b.c. are admired nearly by all those researchers because of their beauty, diversity and technique. lorestani artistic works including stone engraves, bronzes and clays, show an ideal and metaphysical world beside real world which explain mental system of human beings on that era against sensations and phenomena happening around them. men main mental occupation on that time was he unknown world which had surrounded them, and they used to use the religion to fight life’s natural factors, and art was a tool of religious and mythical painting which was far from reality and had entered into the abstract domain. as natural objects have become subjects of lorestani art, it cleanses them from any non – intrinsic limitations and external factors which surround them and darken their meanings, and just shows their main specifications. artist in the said civilization is not searching for realism. although these are few works showing the nature, but in effect there is no wish to imitate touchable factors of the nature, and artist has turned real phenomena to encoded signs as per his own mentality. this procedure is called stylization.
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ژورنال
عنوان ژورنال: Humanities
سال: 2016
ISSN: 2076-0787
DOI: 10.3390/h5030051