مؤسسه آموزش عالی فردوسفردوس هنر2717-231772520260823Evaluating the Potential of Artificial Intelligence in Painting Education and Researchارزیابی پتانسیل هوش مصنوعی در آموزش و پژوهش نقاشی74115610.30508/fhja.2026.2081076.1234FAاکرمپیله چیاندانشکده هنر. دانشگاه الزهرا. تهران0009-0001-0500-3409محمدحسن زادهاستاد گروه آموزشی علم اطلاعات و دانششناسی، دانشگاه تربیتمدرس تهران، ایران.Journal Article20251216Problem Statement: In the contemporary era, the emergence of Artificial Intelligence (AI) has fundamentally challenged traditional paradigms in painting education and research. Despite the growing adoption of these technologies, there remains a critical gap in establishing a systematic framework for their integration within academic art environments, leading to uncertainties regarding their educational and ethical implications.<br>Objective: This study was undertaken to methodically evaluate the potential and applications of AI in enhancing educational processes and research methodologies within the field of painting.<br>Research Question: The primary question addressed in this research is: In what ways can AI facilitate personalized learning, artistic analysis, and the expansion of creative boundaries, and what are the associated ethical and structural challenges?<br>Research Methodology: This study employed a qualitative and analytical approach with the participation of 43 artists and art students. Data were collected via researcher-made questionnaires, and findings were analyzed using descriptive statistical methods and content analysis.<br>Conclusion: The findings indicate that 59.5% of artists perceive AI as a combination of a creative partner and a technical assistant. AI has significantly enhanced visual skills (46.5% in composition and 23.3% in color theory), and 65.1% of participants view it as a powerful complement to human instructors, with 90.7% advocating for its inclusion in university curricula. In the research domain, 100% of respondents acknowledged the efficacy of AI in art analysis. However, the study also highlights pressing ethical concerns regarding copyright (66.6%) and the controversy over artistic authenticity (51.2%), underscoring the urgent need for defined ethical frameworks alongside the utilization of these tools in the arts. Problem Statement: In the contemporary era, the emergence of Artificial Intelligence (AI) has fundamentally challenged traditional paradigms in painting education and research. Despite the growing adoption of these technologies, there remains a critical gap in establishing a systematic framework for their integration within academic art environments, leading to uncertainties regarding their educational and ethical implications.<br>Objective: This study was undertaken to methodically evaluate the potential and applications of AI in enhancing educational processes and research methodologies within the field of painting.<br>Research Question: The primary question addressed in this research is: In what ways can AI facilitate personalized learning, artistic analysis, and the expansion of creative boundaries, and what are the associated ethical and structural challenges?<br>Research Methodology: This study employed a qualitative and analytical approach with the participation of 43 artists and art students. Data were collected via researcher-made questionnaires, and findings were analyzed using descriptive statistical methods and content analysis.<br>Conclusion: The findings indicate that 59.5% of artists perceive AI as a combination of a creative partner and a technical assistant. AI has significantly enhanced visual skills (46.5% in composition and 23.3% in color theory), and 65.1% of participants view it as a powerful complement to human instructors, with 90.7% advocating for its inclusion in university curricula. In the research domain, 100% of respondents acknowledged the efficacy of AI in art analysis. However, the study also highlights pressing ethical concerns regarding copyright (66.6%) and the controversy over artistic authenticity (51.2%), underscoring the urgent need for defined ethical frameworks alongside the utilization of these tools in the arts.Problem Statement: In the contemporary era, the emergence of Artificial Intelligence (AI) has fundamentally challenged traditional paradigms in painting education and research. Despite the growing adoption of these technologies, there remains a critical gap in establishing a systematic framework for their integration within academic art environments, leading to uncertainties regarding their educational and ethical implications.<br>Objective: This study was undertaken to methodically evaluate the potential and applications of AI in enhancing educational processes and research methodologies within the field of painting.<br>Research Question: The primary question addressed in this research is: In what ways can AI facilitate personalized learning, artistic analysis, and the expansion of creative boundaries, and what are the associated ethical and structural challenges?<br>Research Methodology: This study employed a qualitative and analytical approach with the participation of 43 artists and art students. Data were collected via researcher-made questionnaires, and findings were analyzed using descriptive statistical methods and content analysis.<br>Conclusion: The findings indicate that 59.5% of artists perceive AI as a combination of a creative partner and a technical assistant. AI has significantly enhanced visual skills (46.5% in composition and 23.3% in color theory), and 65.1% of participants view it as a powerful complement to human instructors, with 90.7% advocating for its inclusion in university curricula. In the research domain, 100% of respondents acknowledged the efficacy of AI in art analysis. However, the study also highlights pressing ethical concerns regarding copyright (66.6%) and the controversy over artistic authenticity (51.2%), underscoring the urgent need for defined ethical frameworks alongside the utilization of these tools in the arts.بیان مسأله: در عصر حاضر، ورود فناوریهای هوش مصنوعی به ساحت هنر، پارادایمهای آموزشی و پژوهشی در رشته نقاشی را با تحول بنیادین مواجه کرده است. با وجود پتانسیلهای این ابزارها، شکافی میان پذیرش تکنولوژیک و تبیین جایگاه آموزشی و اخلاقی آنها در نظام دانشگاهی وجود دارد.<br>هدفتحقیق: پژوهش حاضر با هدف ارزیابی کاربست و پتانسیلهای هوش مصنوعی در بهبود فرآیندهای آموزشی و روشهای پژوهشی در نقاشی انجام شده است.<br>سؤال تحقیق: سؤال اصلی پژوهش این است که هوش مصنوعی در چه ابعادی قادر به شخصیسازی آموزش، تحلیل آثار هنری و گسترش مرزهای خلاقیت بوده و چه چالشهای اخلاقی در این مسیر وجود دارد؟ <br>روش تحقیق: این مطالعه با رویکرد کیفی و تحلیلی و با مشارکت ۴۳ هنرمند و دانشجو انجام شد. گردآوری دادهها از طریق ابزارهای پژوهشی انجام و یافتهها به روش آماری توصیفی تحلیل گردید.<br>نتیجهگیری: یافتهها نشان میدهد ۵۹٪ هنرمندان، هوش مصنوعی را ترکیبی از همکار خلاق و دستیار فنی میدانند. این فناوری در آموزش، موجب بهبود مهارتهای بصری (۴۶٪ در ترکیببندی و ۲۳٪ در نظریه رنگ) شده و ۶۵٪ پاسخدهندگان آن را مکملی قدرتمند برای اساتید میدانند؛ بهطوریکه ۹۰.7٪ بر ضرورت گنجاندن آن در سرفصلهای دانشگاهی تأکید دارند. در بخش پژوهش، ۱۰۰٪ شرکتکنندگان بر کارآمدی هوش مصنوعی در تحلیل آثار هنری اذعان داشتند. با این حال، چالشهای اخلاقی و حقوقی کپیرایت (۶۶.6٪) و مناقشه بر سر اصالت اثر هنری (51.2٪) نشاندهنده لزوم تدوین چارچوبهای نظری دقیق در کنار بهرهگیری از این ابزارهاست.مؤسسه آموزش عالی فردوسفردوس هنر2717-231772520260823Color and Light in Four Selected Works by Giotto di Bondone: A Peircean Semiotic Analysisنشانهشناسی رنگ و نور در چهار اثر منتخب جوتو دی بوندونه بر اساس نظریه پیرس74115710.30508/fhja.2026.2081697.1235FAسارانوریگروه گرافیک، واحد قزوین ، دانشگاه آزاد اسلامی،قزوین،ایران0000-0003-4857-1091پریاخسروبیگیتصویر سازی .دانشگاه سوره. تهران،ایران.0009-0008-6590-0807Journal Article20251223Color and light are among the most fundamental meaning-producing elements in medieval art. In Gothic painting, they extend beyond purely aesthetic functions and operate as visual vehicles for conveying theological, spiritual, and liturgical concepts. Giotto di Bondone, one of the most influential painters of the late Middle Ages, departed from the conventional Byzantine pictorial tradition by employing light and color to construct images that combine naturalistic observation with sacred meaning. Through the integration of spatial organization, volumetric modeling, chromatic harmony, and emotional expression, Giotto established a new visual language that significantly contributed to the transition from medieval painting to the Early Renaissance. Although numerous studies have examined Giotto's artistic innovations from historical, stylistic, and iconographic perspectives, relatively little attention has been paid to the interaction of light and color as an integrated semiotic system.Moreover, few studies have analyzed these visual elements simultaneously within Charles Sanders Peirce's triadic model of signification.The present study addresses this research gap by examining how color and light function as iconic, indexical, and symbolic signs in four selected works by Giotto.<br>This research adopts a qualitative descriptive-analytical approach.The study population consists of Giotto's religious paintings, from which four representative works—Madonna Enthroned, The Stigmatization of Saint Francis, The Adoration of the Magi, and The Lamentation over the Dead Christ—were selected through purposive sampling. The selection was based on four criteria: their historical significance in the evolution of Giotto's pictorial language, the diversity of their treatment of light and color, their suitability for Peircean semiotic analysis, and the availability of reliable visual and scholarly documentation.Data were collected through documentary research and visual analysis.Each work was examined in terms of composition, spatial organization, color, illumination, gestures, and iconographic elements before being interpreted according to Peirce's three categories of signs: icon, index, and symbol.<br>The findings demonstrate that color and light function simultaneously at all three semiotic levels. At the iconic level, light and shadow contribute to the realistic representation of forms by creating volume, spatial depth, and bodily presence. Giotto's gradual modulation of light distinguishes his paintings from the flatter and more abstract conventions of Byzantine art and enables sacred narratives to be perceived as tangible human experiences.<br>At the indexical level, the direction and concentration of light, the relationships among figures, bodily gestures, gazes, and spatial organization establish causal or contextual connections with invisible spiritual realities.Rather than merely illuminating forms, light frequently indicates divine presence, mystical revelation, sacred intervention, or the transmission of divine grace. For example, in The Stigmatization of Saint Francis, the radiant beams extending from Christ toward Saint Francis function as indexical signs because they visually represent the causal transmission of the stigmata.Likewise, in The Lamentation over the Dead Christ, the orientation of the figures, the descending rocky landscape, and the concentration of visual attention around Christ guide the viewer toward the theological center of the composition.<br>At the symbolic level, color derives meaning from established Christian iconographic conventions.Blue signifies the Virgin Mary's purity, spirituality, and heavenly status; red represents divine love, sacrifice, and martyrdom; white symbolizes purity and sanctity; green refers to hope and spiritual renewal; and brown, particularly in the Franciscan habit, denotes humility, asceticism, and voluntary poverty.Gold performs a more complex semiotic function.In many contexts it symbolically represents the divine realm and eternal glory, whereas in scenes depicting sacred manifestation it may also function indexically by indicating the active presence of divine light.Consequently, the semiotic function of visual elements depends upon their pictorial context rather than remaining fixed in every composition.<br>The comparative analysis reveals that Giotto deliberately modifies the interaction of iconic, indexical, and symbolic signs according to the theological content of each narrative. Madonna Enthroned emphasizes sacred hierarchy and divine authority through symmetrical composition, golden backgrounds, halos, and the Virgin's blue mantle. The Stigmatization of Saint Francis is characterized primarily by indexical relationships that visualize mystical experience and divine grace. The Adoration of the Magi presents a balanced interaction among the three semiotic levels, combining realistic spatial construction with symbolic references to Christ's kingship, divinity, and universal recognition. The Lamentation over the Dead Christ represents the most complex integration of iconic realism, indexical directionality, and symbolic meaning, where composition, light, color, gesture, and emotional expression collectively communicate grief, sacrifice, redemption, and hope for resurrection.<br>The findings further indicate that Giotto's treatment of light should not be understood simply as a movement toward secular naturalism. Although he brought illumination closer to observable reality through modeling, perspective, and spatial coherence, light never lost its sacred significance. Instead, Giotto transformed naturalistic light into a visual mediator between the material world and divine reality. Realism and spirituality therefore function as complementary rather than opposing dimensions within his artistic language.<br>The originality of this research lies in examining color and light simultaneously as an integrated semiotic system rather than as separate visual elements. By combining formal visual analysis with Peirce's semiotic theory, the study demonstrates that meaning emerges through the interaction of composition, illumination, color, and iconographic conventions. Furthermore, it shows that the semiotic function of a visual element is context-dependent and may shift according to its relationship with the represented subject and the broader narrative structure<br>In conclusion, the study demonstrates that Giotto's visual language operates through a coherent semiotic system in which color and light simultaneously perform iconic, indexical, and symbolic functions. At the iconic level, they contribute to the realistic representation of space, figures, and volume; at the indexical level, they reveal the presence of the sacred through directional light, spatial relationships, and visual interaction; and at the symbolic level, they communicate theological concepts through established Christian iconographic conventions. The interaction of these three semiotic levels enables Giotto to integrate empirical observation with sacred meaning and establishes a visual language that played a decisive role in the transition from Byzantine artistic conventions to Early Renaissance painting. The study also demonstrates that Peirce's semiotic framework provides an effective methodological approach for interpreting medieval religious imagery and offers valuable perspectives for future research in art history, visual semiotics, iconography, and medieval visual cultureرنگ و نور از بنیادیترین عناصر معناپرداز در هنر قرون وسطی بهشمار میآیند و در نقاشی گوتیک،افزون بر کارکردهای زیباییشناختی،حامل مفاهیم الهی،عرفانی و آیینی هستند.جوتو دی بوندونه بهعنوان یکی از تأثیرگذارترین نقاشان اواخر قرون وسطی،با فاصله گرفتن از سنت تصویری بیزانس،از ظرفیتهای رنگ و نور برای خلق فضایی واقعگرایانه و در عین حال معنوی بهره گرفت و زمینه تحول زبان تصویری هنر غرب را فراهم ساخت.با وجود پژوهشهای متعدد درباره ویژگیهای هنری آثار جوتو،چگونگی تولید معنا از طریق تعامل رنگ و نور در چارچوب نشانهشناسی پیرس کمتر مورد توجه قرار گرفته است.<br>پژوهش حاضر با هدف تحلیل کارکرد نشانهای رنگ و نور در چهار اثر شاخص جوتو، بر مبنای نظریه سهگانه نشانهشناسی چارلز سندرز پیرس انجام شده است.پرسش اصلی پژوهش آن است که رنگ و نور چگونه از سطح عناصر بصری فراتر رفته و به نشانههایی برای انتقال مفاهیم قدسی و معنوی تبدیل میشوند. روش تحقیق کیفی، از نوع توصیفی ـ تحلیلی است و دادهها با استفاده از منابع کتابخانهای و تحلیل بصری آثار گردآوری شدهاند.چهار اثر منتخب نیز بهصورت هدفمند و بر اساس جایگاه تاریخی، تنوع در کاربرد رنگ و نور و قابلیت تحلیل در چارچوب نظری پژوهش انتخاب شدهاند.<br>یافتههای پژوهش نشان میدهد که رنگ و نور در آثار جوتو در سه سطح شمایلی، نمایهای و نمادین عمل میکنند. نور علاوه بر ایجاد عمق فضایی و انسجام ترکیببندی، بهعنوان نمایهای از حضور امر قدسی و تجلی حقیقت الهی ایفای نقش میکند و رنگهایی همچون آبی،طلایی و قرمز نیز فراتر از ارزشهای بصری، حامل مفاهیمی چون پاکی، الوهیت، رستگاری و شهادت هستند.بدینترتیب، جوتو با بهرهگیری همزمان از این عناصر،نظامی معنایی خلق کرده است که میان واقعگرایی تصویری و تجربه معنوی پیوند برقرار میکند.نتایج این پژوهش نشان میدهد که الگوی نشانهشناختی پیرس میتواند چارچوبی کارآمد برای تحلیل لایههای معنایی هنر گوتیک و بازخوانی نظام دلالت در نقاشیهای مذهبی فراهم آورد.مؤسسه آموزش عالی فردوسفردوس هنر2717-231772520260823The Role of group storytelling on the development of social acceptance and communication skills with an emphasis on the element of characterization.نقش داستاننویسی گروهی بر توسعه جامعهپذیری و مهارتهای ارتباطی با تأکید بر عنصر شخصیتپردازی74115810.30508/fhja.2026.2097440.1287FAحمیدنجفیمؤسسه آموزش عالی فردوسJournal Article20260813Literary fiction is not only an artistic and aesthetic form but also one of the significant means through which human experience is represented, meanings are transmitted, and social relationships are reconstructed. Among the fundamental elements of narrative, characterization occupies a central position because characters constitute the basis for the development of actions, relationships, conflicts, and a substantial part of meaning-making within a narrative. In recent years, increasing attention has been paid to participatory approaches to literary production, particularly collaborative story writing, which has created an opportunity to examine fiction beyond the conventional framework of individual creativity. In collaborative story writing, narratives and fictional characters are constructed through dialogue, exchange of ideas, negotiation, collective decision-making, and consensus among group members. From this perspective, characterization can function not merely as a literary technique but also as a social and communicative process. The present study therefore aims to investigate the role of characterization in collaborative story writing and to explain its potential functions in the development of socialization and communication skills.<br>The present study is applied in terms of its purpose and descriptive-analytical in terms of its nature. It adopts a qualitative approach based on theoretical inference and conceptual analysis. The research data were collected through library-based research and the examination of scholarly sources related to fiction, narrative theory, social psychology, sociology, and theories of learning and social development. In the analytical process, concepts and propositions concerning collaborative story writing, characterization, social interaction, role-taking, empathy, social learning, and communication skills were identified, compared, and interpreted within an integrated conceptual framework. The theoretical foundation of the study draws upon Bandura’s Social Learning Theory, Vygotsky’s Sociocultural Theory, Mead’s Theory of Symbolic Interactionism, Johnson and Johnson’s Cooperative Learning Theory, and Bruner’s Narrative Theory. The integration of these theoretical perspectives provides a multidimensional basis for explaining how collaborative literary activities, particularly the collective construction of fictional characters, may contribute to interpersonal and social development.<br>The theoretical analysis indicates that collaborative story writing should not be regarded merely as a method for jointly producing a literary text. Rather, it constitutes a structured social-educational context in which group members continuously interact with one another. Within this process, characterization, because of its analytical, interpretive, and consensus-oriented nature, represents one of the most important points of connection between literary production and social interaction. When creating a fictional character, group members are required to discuss the character’s physical, psychological, social, and moral characteristics, as well as the character’s motivations, behaviors, relationships, and possible reactions to different situations. They must then negotiate their different interpretations and eventually reach a shared understanding. This process creates opportunities to practice and develop skills such as expressing opinions, active listening, reasoning, negotiation, persuasion, conflict management, and collective decision-making.<br>The theoretical findings further suggest that collaborative characterization may contribute to the development of empathy and social understanding through role-taking and perspective-taking. When participants attempt to place themselves in the position of a fictional character and analyze the character’s behavior from different perspectives, they effectively practice the ability to perceive situations from another person’s point of view.<br>This process is consistent with Mead’s theory of role-taking and his explanation of the development of the social self through interaction with others. Accordingly, collaborative characterization can be understood as an exercise in viewing the world through another perspective and may provide a context for strengthening perspective-taking, empathy, and cognitive flexibility.<br>From the perspective of Bandura’s Social Learning Theory, members of a group observe the communicative behaviors, reasoning patterns, responses to disagreement, and decision-making strategies of other participants and may learn through observation and modeling. From Vygotsky’s sociocultural perspective, language and dialogue constitute essential instruments of interaction and meaning construction. Consequently, discussions concerning fictional characters can simultaneously function as a means of communication and as a means of developing shared understanding. Furthermore, Johnson and Johnson’s Cooperative Learning Theory emphasizes positive interdependence, individual responsibility, active participation, and interaction as important components of effective collaborative learning. Collaborative story writing reflects these principles because the development of a coherent narrative depends on the participation and contribution of group members. Through this process, participants can practice cooperation, responsibility, negotiation, problem-solving, and management of differences.<br>Bruner’s narrative perspective provides another important dimension for interpreting the findings. According to Bruner, narrative is one of the principal ways through which human beings organize experience and construct meaning. Within collaborative story writing, characterization can therefore become a process of collective meaning-making. Group members do not merely decide who a character is; they also discuss why the character behaves in a particular way, how the character relates to others, and what consequences may follow from the character’s decisions. Such discussions can extend beyond the fictional world and provide opportunities to reflect upon human experiences, interpersonal relationships, social expectations, and the consequences of individual behavior.<br>The synthesis of the theoretical findings demonstrates that characterization in collaborative story writing encompasses three interconnected functions: cognitive, communicative, and social. At the cognitive level, analyzing characters, predicting their behavior, and considering different interpretations can encourage perspective-taking and cognitive flexibility. At the communicative level, dialogue, discussion, negotiation, and the exchange of ideas provide opportunities to practice verbal expression, active listening, reasoning, and persuasion. At the social level, interaction, cooperation, role-taking, and acceptance of different perspectives may contribute to the development of socialization and interpersonal understanding. Characterization can therefore be conceptualized as a bridge connecting literary creation, social learning, and communicative development.<br>On the basis of these findings, the main proposition of the study—that characterization in collaborative story writing can contribute to the development of socialization and communication skills—receives multidimensional theoretical support from literary studies, social psychology, sociology, learning theories, and narrative theory. Collaborative story writing can consequently be considered a potentially valuable complementary educational activity in schools and universities, particularly for fostering interaction, cooperation, empathy, dialogue, perspective-taking, and communication skills.<br>Nevertheless, because the present study is theoretical, library-based, and descriptive-analytical, its findings should be interpreted as a theoretical explanation and conceptual support for the proposed relationship rather than as empirical evidence of a measurable causal effect.چکیده<br>پژوهش حاضر با هدف بررسی نقش شخصیتپردازی در داستاننویسی گروهی و کارکردهای آن در توسعه جامعهپذیری و مهارتهای ارتباطی افراد انجام شده است. داستاننویسی گروهی بهعنوان یک رویکرد تعاملی در تولید ادبیات، زمینهای فراهم میسازد که در آن افراد از طریق گفتوگو، تبادل نظر و تصمیمگیری جمعی به خلق روایت و شخصیتهای داستانی میپردازند. در این میان، شخصیتپردازی به دلیل ماهیت تعاملی و توافقمحور خود، نقش محوری در شکلگیری تعاملات اجتماعی ایفا میکند.<br>روش پژوهش از نوع توصیفی_تحلیلی و مبتنی بر مطالعات علمی و کتابخانهای است. دادهها از طریق بررسی منابع معتبر در حوزه ادبیات داستانی، روانشناسی اجتماعی و نظریههای یادگیری اجتماعی، گردآوری و تحلیل شدهاند. مبنای نظری پژوهش بر نظریههای یادگیری اجتماعی بندورا، یادگیری اجتماعی_فرهنگی ویگوتسکی، کنش متقابل نمادین مید، یادگیری مشارکتی جانسون و جانسون و نظریه روایت برونر استوار است.<br>یافتههای پژوهش نشان میدهد که داستاننویسی گروهی از طریق ایجاد تعامل اجتماعی، تقویت نقشپذیری، مشاهده و الگوبرداری و همچنین ساخت مشترک معنا، زمینه رشد جامعهپذیری و ارتقای مهارتهای ارتباطی را فراهم میسازد. همچنین شخصیتپردازی بهعنوان محور اصلی تعامل در این فرآیند، نقش تعیینکنندهای در توسعه مهارتهای گفتوگو، همدلی و همکاری ایفا میکند.<br>در نتیجه میتوان گفت داستاننویسی گروهی نهتنها یک فعالیت ادبی، بلکه بستری آموزشی_اجتماعی برای تقویت مهارتهای ارتباطی و فرآیند جامعهپذیری است.مؤسسه آموزش عالی فردوسفردوس هنر2717-231772520260823A comparative study of minimalist components in some works of Lili Matin Daftari with the Suprematism of Kazimir Malevichمطالعه تطبیقی مؤلفه های مینیمالیستی در برخی از آثار لیلی متین دفتری با سوپرماتیسم کازیمیر مالویچ74116010.30508/fhja.2026.2092827.1266FAویاناکاظمیگروه آموزشی نقاشی، دانشکده هنر و معماری صبا، دانشگاه شهید باهنرکرمان، کرمان، ایرانعاطفهگروسیگروه آموزشی نقاشی، دانشکده هنر و معماری صبا، دانشگاه شهید باهنر کرمان، کرمان، ایران0009-0000-0048-4277Journal Article20260629Abstract<br>The present study offers a comparative analysis of minimalist traits in the paintings of Leyli Matin‑Daftari, a pioneering figure of minimalist painting in Iran, and the Suprematist works of Kazimir Malevich, one of the most radical pioneers of early twentieth‑century abstraction. Although Minimalism and Suprematism emerged in distinct historical and cultural contexts the former in 1960s America and Britain, the latter in revolutionary Russia they share a fundamental visual and conceptual orientation toward reduction, geometric purity, and the elimination of non‑essential elements. This shared ground raises a central question: to what extent can the minimalist language of Matin‑Daftari be understood in relation to Malevich’s Suprematist legacy, and how does her work simultaneously diverge from that legacy through a distinctly personal and culturally embedded visual expression? The research addresses this question by examining selected works from both artists, focusing on four key formal components: <br><br>extreme reductionism, the use of empty space as an active compositional element, the rejection of perspective and three‑dimensional illusion, and the employment of flat, restricted color palettes.<br><br>The study adopts a descriptive‑analytical and comparative methodology. Data were collected from library sources, scholarly articles, online databases, and direct observation of artworks. The sample consists of eight paintings four representative minimalist works by Leyli Matin‑Daftari (produced between the early 1960s and the late 1970s, corresponding to the formative period of contemporary Iranian art) and four major Suprematist compositions by Kazimir Malevich (executed between 1913 and 1932). The analysis proceeds in two stages: first, the theoretical foundations of Minimalism and Suprematism are reviewed; second, the selected works are systematically compared across the four formal criteria, and the findings are summarized in a comparative table. The research <br>also traces the historical channels through which Malevich’s Suprematist ideas may have reached Matin‑Daftari, notably via the British artists David Burljuk and John Graham, both of whom were directly influenced by the Russian avant‑garde and whose work was known in the London art scene during Matin‑Daftari’s formative years.<br><br>The findings reveal substantial visual affinities between the two bodies of work. In both Matin‑Daftari’s minimalist paintings and Malevich’s Suprematist compositions, forms are drastically simplified: figures and objects are stripped of detail, reduced to basic geometric shapes squares, rectangles, circles, and straight lines and rendered in flat, unmodulated colors without shading or tonal gradation. Empty space is treated not as passive background but as an active structural element that establishes balance, rhythm, and a sense of immateriality. Perspective is entirely abandoned; the picture plane is conceived as a two‑dimensional surface rather than a window onto an illusory depth. Color is restrained and purified, often limited to primary hues (black, white, red, yellow) or soft, subdued tones that evoke calmness and concentration. These shared features indicate a common origin in the avant‑garde impulse to move beyond representation toward the essential properties of form and color.<br><br>However, the comparison also brings to light a fundamental conceptual difference. For Malevich, Suprematism was a radical metaphysical project. The Black Square (1915) was intended as the “zero point of painting” an act of total liberation from the visible world, from nature, and from all objective content. His later figurative works, such as Two Figures in a Landscape (1932) and Athletes (1930–32), still demonstrate this drive toward abstraction: the<br>human figure is reduced to a cluster of colored blocks, yet the reference to the external world is deliberately dissolved in favor of a purely spiritual, non‑objective reality. Malevich’s art seeks to express “pure sensation” divorced from any narrative or emotional subjectivity.<br><br>In contrast, Leyli Matin‑Daftari never completely renounces the natural world. Her subjects still‑lives with flowers, fruits, fish, vases, and occasionally single figures remain recognizable, albeit reduced to their most essential outlines. She simplifies, but she does not eliminate. Her empty spaces, often tinted in soft blues or creamy whites, create an atmosphere of poetic stillness and intimacy rather than metaphysical void. Her flat color surfaces retain a warm, almost tactile quality, and her compositions convey a sense of personal recollection and quiet observation. In other words, while Matin‑Daftari adopts the formal vocabulary of Minimalism simplicity, flatness, limited color, and the primacy of space she reorients it toward a personal and culturally mediated expression. Her paintings are not abstract in the radical sense of Malevich; they are distilled representations of everyday life, transformed through a disciplined process of reduction into images of balance, harmony, and contemplation.<br>The historical transmission of Suprematist principles to Matin‑Daftari is indirect yet traceable. During her studies at the Iceland School of Art in London in the 1960s, she encountered the works of David Burljuk and John Graham, both of whom had absorbed the lessons of Russian Suprematism and Constructivism. Burljuk, a close associate of Malevich, and Graham, a prominent figure in the New York School, mediated the formal ideals of geometric abstraction and color purity to a younger generation of British‑based artists. Through this channel, Malevich’s legacy reached Matin‑Daftari not as a fixed set of rigid principles, but as an open set of formal possibilities, which she adapted to her own sensibility and cultural background.<br><br>The study concludes that Matin‑Daftari’s minimalist oeuvre cannot be dismissed as a mere imitation of Malevich’s Suprematism or Western Minimalism. While she clearly inherits and employs the structural grammar of reduction, flatness, and spatial economy, she transforms these principles into a unique visual language that retains a dialogue with nature and personal experience. Her work occupies a distinctive position within Iranian contemporary art: it resists the ornamental tendency of the Saqqakhane school and moves beyond the academic naturalism of the Kamal al‑Molk tradition, offering instead a quiet, introspective modernism that is both international in its formal vocabulary and poetic in its sensibility. Ultimately, the research argues that the value of contemporary art does not lie in the repetition of past achievements but in the artist’s capacity to reinterpret and personalize inherited ideas. Matin‑Daftari exemplifies this creative transformation, demonstrating that Minimalism, when mediated by individual and cultural context, can yield an art of profound stillness and subtle authenticity.بیان مسئله: مینیمالیسم و سوپرهماتیسم ازجمله جریانهای تأثیرگذار هنر مدرن و معاصر به شمار میآیند که هر یک با تأکید بر سادگی فرم، کاهش عناصر بصری و توجه به ساختار اثر هنری، نقش مهمی در تحول زبان بصری قرن بیستم ایجاد کردهاند. هنر معاصر ایران نیز با وجود تنوع گرایشهای هنری، به رویکرد مینیمالیستی توجه نشان داده است. لیلی متیندفتری بنیانگذار نقاشی مینیمالیستی در ایران شناخته میشود. این پژوهش شباهتها و تفاوتهای مینیمالیسم را با سوپرهماتیسم مالویچ که یکی از مهمترین ریشههای شکلگیری سبک مینیمال است بررسی میکند و همچنین تأثیرات آن را بر آثار لیلی متیندفتری میکاود. <br>اهداف پژوهش: هدف این پژوهش، بررسی تطبیقی مؤلفههای مینیمالیستی در آثار لیلی متیندفتری و کازیمیر مالویچ است و بر ریشهیابی این مؤلفه در سوپرهماتیسم مالویچ و تبیین وجوه اشتراک و تفاوت میان آثار این دو هنرمند، تأکید دارد. <br>روش تحقیق: اطلاعات حاضر در این پژوهش از طریق منابع کتابخانهای و اسناد معتبر جمعآوری شده است. پژوهش به روش توصیفی-تحلیلی و با رویکرد مقایسهای انجام یافته است. <br>نتیجهگیری: یافتههای این پژوهش نشان میدهد که استفاده از فرمهای ساده و تقلیلگرا، تأکید بر فضای خالی و فاصله گرفتن از بازنمایی پرسپکتیوی، از ویژگیهای مشترک میان سوپرهماتیسم مالویچ و گرایشهای مینیمالیستی در آثار لیلی متیندفتری است. این شباهتها را میتوان در توجه به استقلال فرم، کاهش عناصر بصری و گرایش به ساختاری ساده و خالص مشاهده کرد؛ با این حال، این اشتراکات به معنای انتقال مستقیم اصول سوپرهماتیسم به آثار لیلی متیندفتری نیست؛ بلکه در چهارچوب تأثیرات گستردهتر جریانهای آوانگارد قرن بیستم و تحولات زبان بصری هنر مدرن، قابل بررسی است. آثار لیلی متیندفتری را نمیتوان تقلیدی صرف از سوپرهماتیسم یا مینیمالیسم دانست؛ زیرا او با حفظ ارجاع به طبیعت و بهره-گیری از تجربهی زیستهِ خودش، تقلیل فرم را به زبانی شخصی و منحصربهفرد مبدل کرده است.