Abundance on canvas: Cultivating peace and floral expressions in Lida Sherafatmand’s paintings

Ramin Hajianfard

Abstract

In this study we discuss the relationship between the concepts of abundance, peace and painting. After a general look at different definitions and approaches to the concept of abundance, we will choose the cultural and artistic approach and, in this context, take a brief look at the painters who used the concept of abundance together with peace. Then we will look at the style of Florescencism, invented and introduced by the contemporary painter Lida Sherafatmand, and the related paintings that have been shown in many prestigious exhibitions around the world, in the context of one of the main approaches of this style, which is to represent the concept of abundance. The abundance of fresh and bright flowers with vivid and promising colors in Lida Sharafmand’s paintings is formally and conceptually in line with one of the clauses of the Florescencism manifesto, which refers to the concept of abundance as a way to develop peace. The paintings selected and presented in this review have been examined in the same two basic analytical directions, namely form and meaning, so that the depth of the concept of abundance and its use in line with the goal of peace in these paintings can be broken down and presented to the reader. ©, Copyright © Taylor & Francis Group, LLC.

References

Alan, F., and B. J. W. Dixson. 2011. “Venus Figurines of the European Paleolithic: Symbols of Fertility or Attractiveness?” Journal of Anthropology 2011:1–11. doi: 10.1155/2011/569120.

Chopra, D. 2022. Abundance: The Inner Path to Wealth. Lekki, Lagos: Harmony. Hajianfard, R. 2021. “Florescencism by Lida Sherfatmand in the Context of Floral Art History.” Kupas SENI 9 (1): 104–114.

Head, Dominic. 2022. Abundance’, Nature Prose: Writing in Ecological Crisis, online ed. Oxford: Oxford Academic. doi: 10.1093/oso/9780192870872.003.0004.

Hodge, S. 2021. Art in detail: 100 masterpieces. Houser, H. 2022. “Abundance against Scarcity.” CR: The New Centennial Review 22 (1): 13–35. doi: 10.14321/crnewcentrevi.22.1.0013.

Kop, M. 2022. “Abundance and Equality.” Frontiers in Research Metrics and Analytics 7: 977684. doi: 10.3389/frma.2022.977684.

Krinichnaya, N. A. 2012. “jgthybxtcndj htr rfr bvgekc r ghtj,hfÅjdfybkfylłfanf b cjçbevf (gj vfnthbfkfv nbjkjubxtcrb[ vbajd) [Rivalry of Rivers as an Impulse for the Transformation of Landscape and Society (Based on the Materials of Etiological Myths)].” helß Rfhtkcrjuj yfexyjuj çtynhf jccbØcrjØ frfltvbb yfer (4): 50–56.

Mahlakeng, M. K., and H. Solomon. 2023. “Homer-Dixon’s Environmental Scarcity Theory and Potential for Conflict in the Nile River Basin (NRB).” In African Security in the Anthropocene, 23–50. Cham: Springer Nature Switzerland.

Seaton, B. 1989. “Towards a Historical Semiotics of Literary Flower Personification.” Poetics Today 10 (4): 679. doi: 10.2307/1772806. Sherafatmand, L. 2020. April 10. Manifesto of florescencism. Lida Gallery. https://www. lida.gallery/post/manifesto-of-florescencism.

Steingraber, S., and S. Steingr€aber. 2006. Abundance of Life: Etruscan Wall Painting. Los Angeles: Getty Publications.

Wynter, S. 2003. “Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, after Man, Its Overrepresentation–an Argument.” CR: The New Centennial Review 3 (3): 257–337. doi: 10.1353/ncr.2004.0015.