Değerlendirme" isimli bu makale"; siyasî ve içtimaî alanlardaki büyük olaylar da dikkate alınarak tarihsel sınırlarının çizildiği bazı evrelerde, İran görsel sanatında ne gibi değişikliklerin yaşandığı ele alınıp neticede bu sanat sahasının günümüzde nasıl bir yola girdiği incelenmiştir. İncelemeler sonucunda anlaşılmıştır ki, son 38 yıl öncesinde İran, sanat sahasında kuvvetli bir Batı tesiri altında kalmıştır. İran İslâm Devrimi (1978) ile başlattığımız son 38 yılda ise, sanat çevrelerinde söz konusu bu Batı tesirine karşı birtakım tepkiler ortaya çıkmıştır. Bu tepkileri; Batı sanatının göz ardı edilerek millî veya yerel bir sanatın kabul edilmesi gerektiğinin savunulduğu Direniş, hem Batı sanatındaki üslupların hem de millî sanat geleneklerinin benimsenip bunların dengeli bir şekilde eserlerde yansıtılmasının gerektiğinin savunulduğu Karışım ve neticede postmodern sanat dediğimiz Batı sanatının tamamen kabul edildiği Kabullenme olarak sıralayabiliriz.Post-modern yani çağdaş sanat algısı oluşturulurken, aslında Batının bizlere kabul ettirmeye çalıştığı, bu sanat çerçevesinde Dünyadaki hemen her kültüre ait unsurların yer alacağı idi. Yani oluşan bu yeni sanat küresel bir sanattır. Ancak incelemelerimiz sonrasında görülmüştür ki; post-modern ya da çağdaş sanat dediğimiz bu yeni sanat, gerçek anlamda küresel bir sanat değildir.Postmodern sanat veya diğer bir ifadeyle küresel sanat aslında Batı sanatının ön plana çıkarılıp dünyadaki diğer bölgelerde hâkim kılınmaya çalışıldığı sanattır

This article entitled "An Evaluation Of Iran's Visual Art And Iranian Artists On Modern Stage "; by considering major events in political and social fields, deals with Irans’ visual art’s modification in some phases which drawn by historical borders, and investigates the way that art sets improve at the present time. According to the result, in last 38 years, art sets in Iran, acutely is impressed by West. Beginning from last 38 years of Islamic Revolution of Iran (1978) between different fields of art, certain reactions has arisen against western influence. These reactions can be categorized as Resistance through which it is supported that a national or local art should be accepted Composition by neglecting through which it is supported that both the styles in Western art and the traditions in the national art should be adapted and these should be reflected in the works in a balanced manner and eventually Accept that Western art which we call as postmodern art is completely accepted. While creating post-modern art perception, in fact it was something in framework of what western art tried to apply every culture in the world. It means that created art was a new global art. But after investigation has been seen that post-modern art that is a new kind of art, actually is not a global one. Postmodern art or in other words global art is the art in which Western art is actually brought into the forefront and it is made dominant in other parts of the world Purpose of the study: In this study by considering social and political events of some sketched historical boundaries, Iran's visual are changes were token in hand and after all the amount of performing art's current improvement was examined. While examining this issue, three artists's generations after Islamic revolution of Iran and their works of art were taken into consideration, were compared, and some information about them were cleared up. At the heart of this purpose following questions will be answered: 1- How did Iran's modern art come to light? By Which factors it has affected and created? 2- what is the reaction of western art against creation of Iran' s modern art? And which alterations happened on the phases of reaction to this field of art? 3- How was the intellection of visual art before Iran's current art? Which artist created their works around this are intellection? 4- what were the properties of art works before appearance of Iran's current art?5- who are the artists that created their works in frame of Iran's post-modern visual art? 6- What are the differences between previous works and current works of art? Method: The purpose is to investigate the mentioned subjects in detail. Also, studies has done in Iranian libraries, art museums, and galeries. Especially, the studies has done in Tehran Post-Modern Museum and the pictures in its archive, and also,Tehran, and Modarres Universities' libraries. As the last stage, firstly gained material transferred into card index of data. Since most of derived information are in the Persian language, article was written in Persian language at first, then it was translated to Turkish. Firstly, pictures from artists' special picture collection, and Iran's formal photo galleries were gathered as a catalogue and were consequently used in proper parts of the study. Findings: As the result of studies it can be understood that; priorly western types had a strong effect on visual effect on visual art of Islamic Republic of Iran (1978). In spite of continuing this effect after revolution, some of the artists showed reactions against that. Resistance is one of these reactions. Generally, in this period, artists aspired to a national genre against western effects. Second reaction had a mixed situation. In that period, artists created national genre of art persuasion and western genre at the same time. At last adoption period of reaction, it has seen that artists mostly accepted post-modern genre of western art. Social subjects in pictures of resistance stage revealed and cultivated in in realism genre, however in mixed stage traditional motifs trimmed in modern genre. There were cognitive points in pictures of adoption stage and use of digital tools with media came to the forefront. Discussion and suggestions: According to the researches that have done on stage of art, Iranian artists showed several reactions against western effect on art stages in different phases after Islamic revolution of Iran. In fact, one of the most important hypothesis suggested in this study is the reactions and important changes of Iranian art stages. By trying to prove the existence of this situation with a few social, historical, and art data, as a result the artists of new stage and their works was examined and elucidated. While creating post-modern art perception, in fact it was something in framework of what western art tried to apply every culture in the world. It means that created art was a new global art. But after investigation has been seen that post-modern art that is a new kind of art, actually is not a global one. By considering middle eastern countries and examining their art stages and also reviving new generated art properties, this aspect has been studied in detain by Mohammad Reza Moradi. MOradi, in his studies concluded that the post modern art is not a global one, and it is the same as western art of last era. As a matter of fact, he basically resisted on middle eastern Islamic countries against the effect of western art, and by referring to the showing up of reactions as mixed and adoption, western art in adoption stage no longer remarked as sovereign. Generally, the inspiration reference of this article, Moradi, clarifies the effect of western art on art stages of middle eastern Islamic countries Because in his hypothesis about art of middle- eastern countries, art stages of Iran as a sample country has propounded more comprehensively. Consequently, in consideration of references actualising hypothesis were unfolded. Substantially, these hypothesis can be suggested in other middle eastern countries, and similar studies could be done. If similar studies can be done in Turkey, Syria, Lebanon and other countries, the questions such as : have modern art ben created by national values or in the flesh of western art? Can be answered. Conclusion: art comprehensions and genres in formation of Iran's current art, and between last three generations of artists who are adopted and different from each other, but considered as a ladder to each other play quite forceful role. In works of some of the artists who are among the first generation of mentioned relevant generations, such as Parviz Tanavoli, Hossein Zenderoudi, MohammadEhsayee, Sirak Melkinian, especially in Pehlevi era, genre of modern art useage can be seen. In these works which take inspiration of Iranian cultural and traditional art's motifs and decorations, form and esthetics rather than concept were brought to forefront. Artists such as Nosratollah Moslemiyan, Bahram Dabiri, Iraj ESkandari, Habibollah Sadeghi who are representing second generationare in different trends. These artists who were bound for realism genre firstly in Islamic Revoluton of Iran, adopted to a type of modern genre cognitively in next eras. Even if these artists who were using content and visuality of Iran's culture and tradition were different in some courses from first generation of artists, they revealed new framework of modern genre. Artists such as Shadi Ghadirian, Simin Keramati, Bita Fayyazi, Pooya Aryanpour who are representing third generation of artists are adopted to an international cognisance of art that is modern art. Artists of this group no longer adapted to modern art genre, but they adapted to post-modern genre of art and presented works in wide range of video art, performance art, and cognitive art. Most of these artists (especially artists such as Shadi Ghadirian, Bita Fayyazi, Barbod Golshiri, Nazgol Ansariniya, Afruz Amighi, Afshin Pir Hashemi) while performing their works took Iran's social and cultural situation as a inspiration to nourish environment, nature, society, woman, and important topics about sexuality. They were known as Iranian Young artists international art. Finally, during 38 years after Islamic revolution of Iran three stages ( first: resistance, second: mixed, and third stage : adoption) were examined and important results about Iranian art were obtained. Relevant first stage that was between 1978-1982 was a kind of resistance state. Culture and especially modernism in art fields of this stage was against western art and culture. Revolution stage of art, also showed up in this period. Fundamentally, Islamic revolution of Iran was based on Islamic cultural and religious issues, east and west cultural conceptions and related political differences.artists of revolution believe that according to Islamic revolution's opinion the most important subject is, inserting religious and social undertakings into art. The greatest variations after revolution was bringing modernism into the forefront and leaving that broad advertisement in culture and art centres, and replacing with traditional and national focus and at the same time a kind of people oriented and realist art. The second stage of art after Islamic revolution of Iran was mixed stage between 1982-19997 years. National identity and the Language and form of international art gained prominence in this stage. In the late eighties that armed occasions of Islamic revolution passed off, particularly, with the end of war between Iran and Iraq more comfortable setting was formed and new orientation of western painting was determined, and possibility of stabilising and overview presented different kinds of modern paintings trends and tendencies. Thus, Iranian modern painting used European modern motions, considerably. On the other hand based on country's official authorities' cultural globalisation or becoming westernised against national culture an interest about notions such as resistance in offensive setting were taken that allowed painting art and history of cultural studies and their traditional properties, to return to their nobility. Thereby, to add a universal value to national culture in this era, national culture expressed in a valid international language. First stage of third phase was the adoption stage of post modern, that means global art. This stage was between 1997-2005 years in which Mohammad Khatami was the president and during that period a relax political and cultural atmosphere was created, book publication condition improved, movie makers worked harder, and particularly fir printing field in was indecency stage. This stage is also seen and known for supporting formal art institutions as modern arts museum, and increase in art journals. Besides, by stepping into information age, and increasing people's free time, it caused intellectual growth of art audiences and so created a proper art atmosphere. Moderate political view of Khatami's government and also increase of western cultural transaction, visual art centre considered supporting artists to travel abroad as a promotive award that ensured European art directors and gallery owners to travel Iran, so artists and cultural western communications increased. During this transaction, Iran and Iranian artists meet new styles of world, new post-modern art and its basic cognitive creation of art. Thus, in last 10-15 years, most of artists, especially young generation get through new media and started to proceed collaterally with variation of art realm. Second stage of third phase was the presidential period of Mahmud Ahmadinejad (2005-2014). After Mohammad Khatami's government, Mahmud Ahmadinejad started his presidential, public enterprises with throw their support in culture and art fields and that support allocated to religious institutions. There was a considerable decrease on works of modern art museum. Government's public enterprises that have already been the most important supporter in visual art, passivated but after 2005 visual art found a new supportive group for itself and proceed on its way. The group rather domestic or abroad were Iranian investors. New investors in Dubai showed up after increase in petroleum price, and at the same time American, European, and specially British Iranian citizens who wanted to invest on their country's culture generated supportive relevant group. This new investors' state comparatively involved in abroad countries' economic state. Because, eventually they are investors. Hence, they advocate and support economically more productive western art. In this case great number of Iranian artists targeted this policy and were attentive to create their works in that way. Artists in this setting turned their attention from modern arts museum to Sachi's galleries, from national painting Biennale to magic Persian completion and instead of concentrating on university instructors of art fields, they consider galleries' curators. In current period, national art no longer comes across with globalised art and globalised argument faces in a competition atmosphere. We wonder if nowadays is there any discussion about local and national art? In today's world even the artists who live in remote areas, put across their revealable works in every country or city on universal dimention.