The phenomenon of abstract representation inIranian art

The Representation of Matriarchal Society in Iranian Art through the Phenomenon of Abstraction Since the focus of this study is the representation of matriarchal society in Iranian art through abstraction, the first step was to examine how the concept of representation is approached and treated in art. In this context, the historical relationship and interaction between literature and visual arts have been explored, with examples provided to illustrate their workings. In the first section of the analysis, the meaning of representation and its depiction in Iranian art and literature are discussed through literary and artistic examples. Following the exploration of representation, the meaning of symbols is addressed, with examples of matriarchal symbols found in Iranian mythology and art. In the second section, the process of relating literature and visual arts is examined in accordance with the historical timeline of Iran, structured through images and texts. This section discusses the role of women in ancient Iran, the foundations of a matriarchal society outlined in the Achaemenid period's constitution, and the changes in balance and the societal presence of women in art during the Qajar period. The third chapter deals with the emergence of miniature art and its connections with literature and its transformation into depiction. In this section, the transformation of the stories from Firdevs' Shahnameh into paintings and the different periods of Iran are presented. The prominent women and stories in the Shahnameh epic and their place in the paintings are written. The text of this work is structured with the work made in the discipline of placement. The main idea of this installation, in which seven wooden panels are used as pallets, has emerged in connection with the story of the Seven Khans or Seven Passages by the most important poet and thinker of Iranian literature. Attributing the symbolic meaning of gateway to each panel pallet allows the artist the freedom to express their own meanings and ideas in the contemporary art world. Bringing ready-made objects into the field of use as works of art has taken its place in the world of original art since the late twentieth century and has been defined as conceptual art. In these contexts, the text of the work is explained in the relevant sections of the analysis. Maryam Salahi moved to Turkey in 2007. Since her first workshops in Istanbul, she had a strong preference for presenting her new life and lifestyle as a period of time with an objective and personal view. The pieces representing the time that has passed, she used the tables that have been used and preserved for years in her studio as pallets and she also used them for the students she taught in her studio. The palette tables were used without cleaning the paints and were preserved to achieve the desired purpose. These palettes were identified by Salahi as symbols of the representation of lived experiences and as documents of the time spent in her studio. In the final section of the analysis, Salahi briefly discusses the works and projects she has created to date, presenting examples. In addition to her most recent installation project, she has produced two paintings inspired by and interpreted from the story of "Yedi Han." Using digital techniques, these two paintings were combined with palettes and placed within different stories from "Yedi Han." Keywords: Iranian Art, Firdevsî, Shahnameh, Painting, Women İn Society, Matriarchal Society Symbols, Representational Art, Abstraction