{"id":"saqqakhaneh","no":627,"name":"Saqqakhaneh","ja":"サッカーハーネ派","era":"late 1950s–1960s","family":"近現代美術運動","kind":"スタイル","essence":"1950年代末から60年代のイランで、街角のサッカーハーネ、巡礼地、民間信仰の奉納物、護符、鍵、数、文字を、絵画と彫刻の近代的な反復・集合・抽象へ組み替えた運動。西欧近代美術の形式と地域の物質文化を同時に扱う。","cues":["護符の印、数字、文字が画面を埋める反復","錠、鍵、ビーズ、リボン、奉納物の集合","格子や中央軸へ圧縮されたタリスマン的な構成","土色、金属色、青緑、赤を層にした装飾的な表面"],"intents":["高級","反骨","静けさ"],"sourceTitle":"The Metropolitan Museum of Art — Artists of the Saqqakhana Movement","sourceUrl":"https://www.metmuseum.org/fr/essays/artists-of-the-saqqakhana-movement-1950s60s","pair":["hurufiyya","iranian-poster"],"study":["the term Saqqakhana and 1960s Iranian modernism","votive objects, talismanic seals and popular shrines","Parviz Tanavoli and Hossein Zenderoudi"],"works":["近代化と地域の信仰・民間文化の緊張を、物と記号の集合から扱う展示や出版","数字、文字、奉納物を、単なる古物趣味ではなく反復する現代的な構造へ変える作品"],"recipe":{"type":"ペルシア語や数字を使う場合は意味と出所を確認し、護符らしい架空記号を作らない。","layout":"小さな印、鍵、ビーズ、文字を格子または中央軸へ密集させ、周囲に静かな余白か一つの大面積色を残す。","material":"真鍮、鉄、顔料、紙の摩耗差を保ち、奉納物を撮影素材として消費せず由来と用途を記録する。"},"avoid":"Hurufiyyaが文字を広域の近代造形へ開くのに対し、Saqqakhanehはイランの民間信仰、奉納物、街の物質文化へ強く根ざす。両者を『中東風の文字アート』へ混ぜない。","colors":["#B58A3A","#315B62","#7E3029"],"motif":"artifact","collection":"Dictionary expansion 34","addedAt":"2026-08-23","source":{"title":"The Metropolitan Museum of Art — Artists of the Saqqakhana Movement","url":"https://www.metmuseum.org/fr/essays/artists-of-the-saqqakhana-movement-1950s60s"},"reference":{"status":"verified","pageUrl":"https://www.metmuseum.org/fr/essays/artists-of-the-saqqakhana-movement-1950s60s","credit":"The Metropolitan Museum of Art — Artists of the Saqqakhana Movement"},"en":{"essence":"In late-1950s and 1960s Iran, Saqqakhaneh artists reworked street shrines, votive objects, talismanic seals, locks, beads, numbers and letters into modern repetition, accumulation and abstraction in painting and sculpture.","cues":["Repeated talismanic seals, numbers and letters filling the field","Accumulations of locks, keys, beads, ribbons and votive objects","Tightly gridded or axially compressed talismanic composition","Layered earth, metal, turquoise and red surfaces"],"works":["Addressing tensions between modernization, popular belief and local material culture through assembled objects and signs","Turning numbers, writing and offerings into contemporary repetition rather than antiquarian display"],"recipe":{"type":"Verify the meaning and provenance of Persian words and numbers rather than inventing occult-looking marks.","layout":"Compress small seals, keys, beads and writing into a grid or central axis, leaving either calm space or one large color field around it.","material":"Preserve the different wear of brass, iron, pigment and paper, and document the origin and use of devotional objects."},"avoid":"Hurufiyya opens writing across several modernisms; Saqqakhaneh is specifically rooted in Iranian popular devotion, offerings and street material culture. Do not merge both into Middle Eastern letter art.","study":["The term Saqqakhana and 1960s Iranian modernism","Votive objects, talismanic seals and popular shrines","Parviz Tanavoli and Hossein Zenderoudi"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}