A study of Iranian graphics volution after Islamic Revolution of 1979

Abstract

Sociology of art and typography analysis about the fourth generation graphic designers of Iran can be started by examining the form and social conditions of the production of the work. One of the components of Pierre Bourdieu's theory is the evolution of the field of art and cultural capital. These components are a factor for examining the changes and developments in the sociology of art and artist in relation to the fourth generation graphic designers of Iran after the revolution, who have been in the context of the developments in the sociology of art and social conditions. The current research aims to answer the following questions: 1. What changes happened in the typography works of the fourth generation of graphic designers (after the revolution)? 2. How are the changes and evolutions of typography design in the works of the fourth generation of Iranian graphic designers from Pierre Bourdieu's point of view about cultural capital and the field of art? This research is descriptive - It is analytical and the data has been collected based on library and documentary studies based on the theory of Pierre Bourdieu. The findings of the research showed that designers such as Reza Abedini, Majid Abbasi and Bijan Sifouri were influenced by the field of art (the historical background of graphics in Iran and the cultural and artistic traditions of calligraphy) and the cultural capital that arose from education and family . And social developments after the revolution such as economic development, variety of printing methods, communication with prominent international designers, advances in tools such as desktop personal computers and the new wave of typography in the West which have been All of them arise from the developments in the field of art and cultural capital.