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Transformation in Content and Lack of Innovation in Form in the Works of Contemporary Afghan Women Painters: The Era of Hamid Karzai, 2001–2014
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Reza Rafiei Rad *   |
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Abstract: (2 Views) |
In contemporary Afghan painting, the period of Hamid Karzai’s presidency can be regarded as a golden era for the widespread presence of women in their pursuit of identity, during which artistic practice was directed more than ever towards political and social issues. Prior to this period, not only were women painters few in number, but the subject matter, style, and techniques of their works differed little from those of male artists. Their paintings commonly depicted still life, everyday life, Afghanistan’s natural landscapes, portraiture, urban and rural scenes, and similar themes. However, the Karzai era—due to the establishment of a democratic government and the acceptance of international conventions on women’s rights—marked a turning point in contemporary women’s painting. The question thus arises: following the transformations that occurred during the second reform period in contemporary Afghan painting, what was the most significant change in women’s contemporary painting after the Transitional Government, and what characteristics emerged in its form and content? This study, conducted through a descriptive–analytical method and based on library and archival sources, demonstrates that during this period, alongside the rapidly expanding presence of women in contemporary painting and their growing familiarity with new global art movements such as feminism, a major movement emerged towards the construction of women’s identity and their participation in the cultural modernisation of the country. Women artists engaged with Western schools of art, experimented with diverse painting techniques, and selected movements such as Expressionism and Symbolism—among others—that offered greater capacity to express their suffering, experiences of discrimination, and demands. Aside from the female painter Fataneh Baktash Arefi’s efforts under the title of ‘Geometrism’, no significant innovation in style or technique emerged. Nevertheless, the transformation that occurred in contemporary painting during this period can be identified in the shift of subject matter within the expressive works of Afghan women painters. The canvas became a platform for resistance against the violation of women’s rights and against ethnic and extremist discriminatory laws targeting women.
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| Keywords: Contemporary Art, Painting, Women Painters, Afghanistan, Form and Content |
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Type of Study: Research |
Subject:
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