Statement of the Problem: The present study aims to conduct a comparative analysis of the symbolic role of the tree in the works of Parviz Kalantari and Reza Derakhshani by examining the position of this natural element within the visual language of these two contemporary Iranian artists. The research seeks to demonstrate how this shared symbol, despite the artists’ different artistic styles, serves as a means of expressing cultural, emotional, and aesthetic concepts. Kalantari represents the tree through a simple, indigenous, and regional visual language, closely connected to the Iranian landscape and collective memory. In contrast, Derakhshani portrays the tree in relation to mythology, vital energy, rebirth, and cosmic symbolism.
Research Objectives: The main objective of this study is to examine the symbolic role of the tree and to identify the similarities and differences in its symbolic representation in the works of these two artists.
Research Method: To answer the research questions, data were collected through library research, scholarly articles, exhibition catalogs, and internet sources. The selected works of the two artists were then examined using a descriptive–analytical method with a comparative approach.
Conclusion: The symbolic representation of the tree in the works of Kalantari and Derakhshani demonstrates that this natural element performs a function beyond the literal depiction of nature in contemporary Iranian art. In the works of both artists, the tree appears as a meaningful and multilayered symbol capable of conveying concepts such as life, roots, permanence, identity, and the relationship between human beings and their environment. Kalantari primarily presents the tree within an indigenous and regional context, whereas in Derakhshani’s works, the same element is transformed into a dynamic and emotionally charged structure. Therefore, the symbol of the tree in the works of these two artists simultaneously fulfills aesthetic, conceptual, and identity-related functions and plays a significant role in shaping symbolic naturalism in contemporary Iranian art. .
Keywords: Tree , Nature, Iranian Ecosystem, Parviz Kalantari, RezaDerakhshani, Symbolism,Contempory Iranian Art.
Introduction and Statement of the Problem
Contemporary Iranian art is a field in which visual elements and cultural concepts interact to create diverse artistic languages. Among these, nature has always been one of the most important sources of inspiration for Iranian artists. Natural elements such as trees, water, mountains, birds, and earth appear not only as visual subjects but also as meaningful signs and symbols in works of art. Within the context of Iranian culture, these elements often carry multiple layers of meaning derived from lived experience, historical memory, cultural beliefs, and aesthetic perspectives. The tree, as one of the oldest natural symbols, occupies a special place in the history of Iranian art and culture. In Iranian mythological, literary, mystical, and visual traditions, it is often regarded as a symbol of life, growth, fertility, stability, the connection between earth and sky, and the continuity of existence. Therefore, the presence of the tree in contemporary Iranian painting cannot be regarded merely as a representation of nature; rather, it should be understood as a symbolic element capable of conveying intellectual, cultural, and emotional meanings. In contemporary Iranian art, artists have employed diverse visual languages to establish a creative connection between tradition and modernity. In this process, elements derived from nature, mythology, literature, and Iranian culture have assumed a significant role. In the works of many contemporary Iranian artists, nature is not merely a representation of landscapes or the surrounding environment; rather, it serves as a means of expressing ideas, emotions, cultural identity, and personal experiences. Consequently, natural elements have gradually moved beyond their descriptive function and have become multilayered and meaningful symbols through which each artist conveys different concepts according to their own worldview and artistic language. The tree, as one of the oldest natural symbols, holds a distinctive place in the history of Iranian art and culture. Within Iranian mythological, literary, mystical, and visual traditions, it has long been regarded as a symbol of life, growth, fertility, stability, the connection between heaven and earth, and the continuity of existence. Therefore, the presence of the tree in contemporary Iranian painting should not be understood merely as a representation of nature; rather, it should be viewed as a symbolic element capable of conveying intellectual, cultural, and emotional meanings. Despite the widespread presence of the tree in the works of contemporary Iranian artists,
1,What are the conceptual and visual differences in the symbolic representation of the tree in the works of Kalantari and Derakhshani? To answer this question, the study first presents a definition of contemporary art and then discusses the symbolism of the tree in contemporary Iranian art. Subsequently, selected works by each artist are analyzed separately, with particular attention to the symbolic role and significance of the tree in their paintings.
Research Methodology
The present study adopts a descriptive–analytical method with a comparative approach. Data were collected through library research, scientific articles, and close observation of the selected artworks. The required information was gathered from books, scholarly articles, theses, exhibition catalogs, and written sources related to contemporary Iranian art, as well as sources concerning the lives and artistic careers of the two artists. First, the theoretical foundations of the tree symbol in Iranian culture, mythology, and art are examined. Then, selected works by Derakhshani and Kalantari, in which the tree appears as a meaningful symbolic element, are chosen and analyzed. These two artists are among the prominent figures of contemporary Iranian art, each expressing the concepts of identity, nature, memory, and Iranian culture through a distinct artistic language. The statistical population of the study consists of three works by Kalantari and three works by Derakhshani. Finally, although Kalantari and Derakhshani differ in their artistic style and visual language, both have paid particular attention to natural elements and concepts related to Iranian identity. The selection of these two artists is based on their different approaches to representing nature and cultural symbols, particularly the symbol of the tree.