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Showing 3 results for Ghassemi
Mohammadreza Abolghassemi, Volume 4, Issue 17 (12-2015)
Abstract
There are several texts pertaining to Perisian painting which explain its aesthetics on the basis of mysticism and the notion of imaginal world. This point of view bears some methodological problems. Some of the prominent scholars (Corbin, Burckhardt, Nasr, Ringgenberg et al.) refering to Ibn ‘Arabi’s mystical notions, have tried to show that the specific aesthetics of Persian painting has been derived from the imaginal world. Our aim here is to show that establishing the aesthetics of Persian painting on the basis of imaginal world’s metaphysics lacks seriously the theoretical and methodological rigour. Firstly, Ibn ‘Arabi and his heirs’ conception of imaginal world was first of all ontological (hierarchy of Being) and epistemological (knowledge of God). Secondly, there is no overwhelming proof which could demonstrate that Persian painters were initiated to this notion. Thirdly, achieving the imaginal world through mystical intuition is conditioned by asceticism and purifying rituals, which were not necessarily familiar to Persian painters almost working in the court of Sultans. We will try to show that considereing these paintings in themselves is the genuine way to establish their aesthetics principles.
Mohamadreza Abolghassemi, Volume 7, Issue 29 (3-2019)
Abstract
Persian painting has usually been studied from historical point of views. But its formation is rooted in a specific social context. In this study, we will try to contextualize it and we will show that this social context has a crucial role regarding its aesthetic. Persian painting is an art of royal courts and it represents the life of princes combined with Persian epic legendes. This social context and its impact on the Persian painting will be studied here, showing that ordinary life of royal families is the central theme of these paintings and not, as it is said usually, the sprituality of mystical realms. The formation of the Persian painting in the 14th century is typically related to the Persian cultur ruled by the Mongols and Timûrids who tried to legitimize their kingdom by supporting the arts and particularly painting. That is why the art of painting flourished in Persia during their dynasties.
Vida Ghassemi, Hamidreza Shairه, Majid Ziaee, Volume 11, Issue 45 (3-2023)
Abstract
Following the political and social developments in Iran in the mid-1370s, young artists created critical works in the new social and cultural demands. In such an area, the subject of the works moved towards more realism, and social realist painting was re-formed in Iranian contemporary art. These paintings show that the human subject has been indoctrinated with the opinion and rethinking of social beliefs and values, and by rejecting them, the subject is removed and collapses. Therefore, the author aim to analyze the process of the collapse of the subject in the realist paintings of Iran In the last two decade with benefit of the concept of “non-subject” in the discursive semiotics approach. Research method is descriptive-analytical way and analysis of the works by using the discursive semiotics of Paris school. Based on this, the relationship between the form of expression and the form of content in the formation of “social non-subject” in Iran’s realistic paintings of the eighties and nineties, and the process of meaning production. Also, visual discourse in explaining social non-subject in paintings, have been analyzed.
The findings indicate that in these paintings, the artist weakens the actional discourse through the elimination of the reel presence of the subject and visual semiotics strategies Such as norm-avoidance, subject’s automaticity, unaware subject, marginalized subject and subject’s threatened position. In this way the presence of discursive non-subject is highlighted and the subject has collapsed. Also, by introducing the subject into the perceptual-sensory discourse and putting him under emotional Intensity through visual arrangements such as darkness, wrinkles, wounds, etc., the artist achieves the modality discourse of anxiety and worry, which explains non-subject.
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