Behdad Panjehzadeh

The term “simultaneity” means the exhibition of various spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity”has been used for referring to Persian painting and Cubist paintings of Picasso. For this reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian painting and Picasso painting each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial simultaneity” lacks enough precision for describing Persian painting. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso paintings are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian painting and Picasso painting involves similarities and differences. For instance, in Persian painting, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso painting, space is perceptual and dependent on the material world. For this reason, it can be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian painting because such term has been used for the first time to define Cubism style in painting which is not in complete correspondence with Persian painting. Keywords: spatial simultaneity, Persian painting, perspective, Picasso painting, Cubism

The term “simultaneity” means the exhibition of various  spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity”has been used for referring to Persian painting and Cubist paintings of Picasso. For this
reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian painting and Picasso painting each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial
simultaneity” lacks enough precision for describing Persian painting. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso paintings are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian painting and Picasso
painting involves similarities and differences. For instance, in Persian painting, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso painting, space is perceptual and dependent on the material world. For this reason, it can
be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian painting because such term has been used for the first time to define Cubism style in painting which is not in complete correspondence with Persian painting.

Keywords: spatial simultaneity, Persian painting, perspective, Picasso painting, Cubism

The term "Spatial simultaneity" has been mentioned in painting with futurism style. The objective of present paper is to be acquainted with Visual Structure of "Spatial simultaneity" exhibition in aesthetic system of Persian painting comparing to Umberto Boccioni's paintings with futurism style. The main objective in present paper is to get recognition about similar and different aspects of two aesthetic systems of Persian Painting and Boccioni Painting which each of them displays spatial simultaneity in its visual structure, and also it is attempted to specify that the term "Spatial simultaneity" in Persian Painting does not involve sufficient accuracy. To realize the objectives of this paper, firstly the observation about the concept of space, time and place in outlook of Persian culture and its effects in Persian painting were considered, and then the concept of space in Ancient Greece and contemporary Europe and also its effect on European painting were considered. Thereafter, due to such a close relation between space and visual Representation of Nature, observation and recognition of perspective concept in aesthetic system of Persian and European painting were considered. Eventually, the concept and the way for "Spatial simultaneity" exhibition in Persian and Boccioni Paintings, and then comparison of concept and visual structure of spatial simultaneity in Persian and Boccioni painting in futurism style, are considered.

The term “Spatial simultaneity” has been mentioned in painting with futurism style. The objective of present paper is to be acquainted with Visual Structure of “Spatial simultaneity” exhibition in aesthetic system of Persian painting comparing to Umberto Boccioni’s paintings with futurism style. The main objective in present paper is to get recognition about similar and different aspects of two aesthetic systems of Persian Painting and Boccioni Painting which each of them displays spatial simultaneity in its visual structure, and also it is attempted to specify that the term “Spatial simultaneity” in Persian Painting does not involve sufficient accuracy. To realize the objectives of this paper, firstly the observation about the concept of space, time and place in outlook of Persian culture and its effects in Persian painting were considered, and then the concept of space in Ancient Greece and contemporary Europe and also its effect on European painting were considered. Thereafter, d...