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Saqakhaneh doctrine is the most prominent product of the interaction of modern arts structure with national, traditional and folk elements.
This school became stable by combining the structure of modern art with indigenous elements and pattern of traditional motifs, a well-known manifestation of the modernist movement with an Iranian orientation.
The combined structure of this modernist doctrine reflects the historical fact that at the same time as the first modernist waves in Iran, the approach to postmodernism was born, meaning a kind of openness to previous values; Just as Saqakhaneh relied on looking to the future and also ensuring the glory of the past.
Due to this dual nature, this doctrine has always played an important role in the general popularity of modern art in Iranian society.
The project sought to deepen the school of Saqakhaneh and unleash the potential of the school’s work, with a combination of Gestalt-based psychology analysis and deconstruction architecture, to design and create new works, and to provide a number of architectural objects with opportunities to become a space of architecture.
“Saqakhaneh movement” was sustained by combining the structure of modern art with indigenous elements and traditional motifs. It is a well-known manifestation of the Iranian-oriented modernism movement. It relied on looking to the future and honoring the past.
The artists of the Saqakhaneh doctrine also used the folk art used in the structure of the Saqakhaneh with a sense of freedom of action. Separated colored surfaces that fill in geometric shapes. Finally, the integration and adaptation of these surfaces can be summed up in forms with external references. Also, the margins of geometric forms and colored surfaces are mainly marked and distinguished by Persian numerals or letters.
What plays a limited role in the artistic expression of the Saqakhaneh movement is the integration of two representational and abstract approaches. This process is often associated with two types of use of calligraphy and numbers. A structural use in a way that is no longer self-written and its meaning does not matter much, but works in detail between the levels of volumes and painting. And the calligraphy in many of these works is purely decorative.
Disruption in the referral process is partly the result of the type and manner of approach to adapting forms in the doctrine. The forms in the works are transferred from a context or a conventional context to the context of the visual arts, and in the process their position and agency in the semantic construction of the new context changes.
This transfer separates the signs from their original meaning and places them in a new semantic system that, despite the common executive contexts, the subject will have a different meaning. In addition to the formal features of these volumes, the organization of forms and signs also had a narrative and metaphorical basis.
