Analytical study of deformation in Mohammad Siyah Qalam’s Paintings

The term “deformation”, which in its general sense is interpreted as “change of form” can include the efforts of many artists to retrieve new forms from the objective and tangible nature. The Iranian painter has always chosen different methods and means to achieve a special visual tradition that meets his needs. In fact, his way of dealing with the surrounding world and tangible forms is an expressive means by which he reflects his thoughts.The present article aims to study the deformation, function, executive practices, and objectives of the artist in applying them in Persian Miniature by examining the works of Mohammad Siyah Qalam. Accordingly, the following two questions were formulated:
A: What components do the deformation consist in Persian Miniature?

B: What is the function of theexecutive practices of deformation in the works of Mohammad Siyah Qalam?

This research in terms of the nature and method is descriptive-analytic and method of data collection is library base and observation. The results of the research indicated that in Persian Miniature in general, components such as “summarizing, simplifying and abstracting” and “exaggerating of the obvious features of the form” have been used for the purpose of “meaningfulness”. Also, the function of the deformation and the most unusual achievement of Siyah Qalam in its use have been the expressive manifestation of human passivity and physical bestial suffering.