Photography of water and reflection of meaning in the works of Amir H. Zekrgoo

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Abdollah Zahra http://orcid.org/0000-0001-9337-6549 Marasy Mohsen http://orcid.org/0000-0002-6409-5024

Abstract

The emergence of motif of water in photography, in realistic or abstract form, indicates the distinct and inspiring role of this element in art. The structural characteristics of water, from its lack of form, color and taste, to its intrinsic movement (its death while resting), transparency (as in glass) and reflection (as in mirror), turned it to an insightful and fantastic subject for photography. The photography of water by Zekrgoo goes particularly beyond these characteristics and alludes to water in the spiritual realm, rather indirectly or directly by supplementing explicit symbols such as mosque. This article investigates the coherence of tradition and modernity in the artworks of Zekrgoo through an analysis of the form of the photographs, and a comparative study of their explicit and implicit spiritual connotations by a semiological approach. Among Zekrgoo photographs, the “mystical water” and “images of illusion” are chosen to answer questions such as: “what are the latent meanings behind the aesthetical appearance of the photographs” and “whether such meanings relate to spirituality and tradition-modernity dichotomy.

Article Details

How to Cite
Zahra, A., & Mohsen, M. (2016). Photography of water and reflection of meaning in the works of Amir H. Zekrgoo. SOCRATES, 3(4), 42-58. Retrieved from https://www.socratesjournal.com/index.php/SOCRATES/article/view/141
Section
Persian Literature

References

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Zekrgoo, Amir H. 1995. Nature, Man and Art, An Irano-Islamic Perspective. In Baidyanath
Zekrgoo, Amir H. "Photogallery." Vision Beyond. N.p., n.d. Web. 17 Dec. 2012.