Saqqakhaneh

サッカーハーネ派 / late 1950s–1960s / Stil / Moderne und zeitgenössische Kunstbewegungen

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.

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

Saqqakhaneh — KI-generierte Interpretation
KI-generierte Interpretation, kein Referenzwerk

Wörterbucheintrag

Geeignet für
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
Typografie
Verify the meaning and provenance of Persian words and numbers rather than inventing occult-looking marks.
Komposition
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.
Zu vermeiden
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.
Zum Weiterlesen
The term Saqqakhana and 1960s Iranian modernism / Votive objects, talismanic seals and popular shrines / Parviz Tanavoli and Hossein Zenderoudi

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