Sareh is a PhD candidate in the Centre for Asian and Middle Eastern Architecture (CAMEA), the School of Architecture and the Built Environment at the University of Adelaide. Her research project is on the Representation of Women in Architectural Spaces in Persian Painting (Late Timurid to Late Safavid/15th-16th century).
Sareh graduated with a Master’s degree in Fine Arts, Art History (by research mode) from Universiti Sains Malaysia (USM), Penang, Malaysia (2015). She also gained a Bachelor’s degree in Arts with a focus on Painting from the Sooreh University of Tehran, Iran (2005). In addition to her academic background, she has gained hands-on experience in painting.
Untold Stories: Representation of Women in Architectural Spaces in Persian Painting (Late Timurid to Late Safavid).
Some scholars believe that studying women's roles in Iran is not easy due to various issues such as the seclusion of women's lives that seem to exclude them from the formal accounts that create recorded history. In the scarcity of information about women in official sources they suggest that images of women abound in Persian paintings are a valuable source that offers a significant indication for investigating the social and cultural associations of such imagery.
Through an investigation into the visual representation of women in medieval and pre-modern Persian painting, this study seeks to discern social and cultural implications of such imagery and how this may provide a better understanding of the role of gender and its changing social settings in a particular medieval and pre-modern Islamic society.
The specific approach of this study is to examine the representation of women within, and in relation to, architectural spaces and elements, as these have also been depicted in Persian paintings of this era. Recognising that architecture can be both a generator and a reflection of social structures and cultural practices, the study examines how women were 'placed', framed and/or defined in the scenes depicted through the use of architecture in the compositional structure of the painting. How the accessibility, patronage and outreach of women may have differed from the private to the public realm, and from commoner to noble, is examined by comparing the representation of women in the different types of architectural space conventionally depicted in Persian painting. How these constraints and behaviours changed over time is examined through a historical comparison of the architectural framing of the female figure in Persian paintings produced to illustrate a particular genre of illustrated manuscript written between the late Timurid and Safavid eras.
|2013 - 2014||Research and Conservation Project Assistant||Universiti Sains Malaysia, George Town|
|2011 - 2012||Graduate Assistant (research and project assistant)||Universiti Sains Malaysia, George Town|
|2005 - 2006||Teaching in art high school||Najmeh Art High School|
|2005 - 2006||Teacher and in art high school||Kosar Art High School|
|Persian||Can read, write, speak, understand spoken and peer review|
|2011 - 2015||Universiti Sains Malaysia, George Town||Malaysia||• Master of Fine Arts (Art History, By Research)|
|2001 - 2005||Sooreh Art University of Tehran||Iran||• Bachelor of Arts in Painting|
|1997 - 2000||Girls’ Technical and Vocational Institute of Karaj||Iran||• Associate Degrees Course of Studies in Graphics|
|2017||Graphic Designer||Iran Technical & Vocational Training Organization||Iran|
|2011||Abooali, S. A. R. E. H. (2011). The Emergence of Drawing as an Independent Expression in Persian Tradition During the 16th-18th century. In S. Shahir, I. Ahmad & S. Anuar Shaari (Eds.), 1st Malaysian International Drawing Marathon Book (pp. 91-97). Penang: USM School of the Arts.|
|2015||Abooali, S.; (2015); A Research on the Representation of Women in Safavid Persian Painting.;|