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Showing 7 results for Mohammadi
Naser Sadati, Mahmud Mehrmohammadi,
Volume 4, Issue 16 (12-2015)
Abstract
The background of symbolic thinking goes back to Kant’s philosophy.Kant first stated it in his philosophical aesthetics. The most important aspect of Langer’s philosophy is to pursuit Kant’s schemas as symbols.
Unlike others, Langer claims that art is not a mere expression of feeling and the feeling is not mere pleasure or pain but it is inner life or human mentality. Art or work of art articulates this. Like Cassirer, Langer claims that art is a symbolic form; in other words, instead of being a mere expression of feeling, art can be a symbol of it. It has an isomorphic relation with the structures of human feeling.
In this paper, first we will present an explanation of symbolization as an important key in Langer’s philosophy, and then we will indicate the conception of feeling. Finally, we will discuss how a work of art is a symbol of feeling.
Afsaneh Rostami, Javad Alimohammadi,
Volume 7, Issue 26 (5-2018)
Abstract
This article is concerned with the relation between dialogism and art criticism. Dialogism is a notion introduced by Mikhail Bakhtin based on his analysis on the concept of polyphony which is borrowed from music. In this article, the importance of dialogism is discussed in philosophical anthropology, culture, and contemporary art criticism. Moreover, the notion of dialogism is studied in relation to Bakhtin’s latest concepts of answerability and unfinalizability. Criticism is a dialogue between two semiological systems, for instance, between language and language or language and a visual semiological system. Therefore, dialogism is located within any criticism. This article discusses that the most important aspects of dialogic quality of the contemporary art criticism are the increased interactive role of the audience, the importance of the indeterminacy of meaning, and its receptiveness of other disciplines. Eventually, the development of a dialogic criticism among various artistic discourses which leads to the production of an artistic text has been discussed in this research.
The approach of this work is a combination of approaches which an artistic research is concerned with, such as art, philosophy, linguistics, sociology, and cultural studies.
Samaneh Mohammadi, Morteza Heydary,
Volume 8, Issue 31 (Summer 2019)
Abstract
Almost a particular insight is effective on the artist’s approach in creating quality of space in his painting. In fact, the general atmosphere in any painting is a reporter of artist’s thought and insight. By examining the foundational of ontology in their approach we have found some similarities and differences between the Iranian painting and the Far East painting. The purpose of this study is to investigate the relationship between ontology foundations and painting space. In fact, we are looking for: is the concept of “existence” and “absence ” ( in ontology) effective in negative and positive space painting? To prove this goal, we have analyzed the aesthetics and visual structure in their paintings and compare them in some concept such as (time, place, color, …).
The research method used in this paper is analytical-descriptive and the library resources have been used for these concepts.
This study concludes something that be represented in Iranian and the Far East paintings involves artist’s insight into the knowledge of ontology, so we can see filled space in Iranian painting and empty space in Far East painting which is proved by a comparison of the visual structure of their works.
Mohammad Ali Abdolmohammadi, Nader Shayeganfar,
Volume 11, Issue 44 (12-2022)
Abstract
Royal Portraiture is one of the last Iranian miniature styles which more or less can be considered a Synthesis Style of Iranian and European elements. This style was inspired by Westernization, but underwent important changes during the Qajar era. In this research, one tries to analyze and interpret one of its ruptures that occurred in the era of Mohammad Shah. The main issue of the present project is to study the ways this rupture and its consequences were occurred in Qajar visual culture. For this purpose, first, the main features of Royal Portraiture before and after the Fath-Ali Shah era were identified and then, the ways of the occurrence of this rupture were described. After that, based on Michel Foucault’s thoughts on the concept of the technique of power, the consequences of this rupture were examined. In this project, which was based on qualitative and analytical research method, after conducting studies, the result obtained from this study shows that the rupture of the Royal Portraiture was taken place in representation of body figure and in the discourse of chronology. The consequence was that, this rupture as a technique of power-record, in addition to reproducing this discourse, replaced metaphorical logic with realistic language in visual culture.
Mina Mohammadi Vakil,
Volume 11, Issue 45 (3-2023)
Abstract
The position of the artist in different periods of history has undergone fundamental changes due to the difference in the concept of art and the relationship between art and wisdom: From the creative idea of creation, which placed the creator in the position of the first artist, to the era of the rule of the philosophy of religion or theology, in which the artist, as a craftsman, was merely the executor of superior ideas and goals, and lacked any special social or post-credit. With the emergence of the Renaissance, artist-scientists emerged who created a new situation by emphasizing the superiority of human ideas, which finally brought a new definition of the artist-philosopher to the scene in the 20th century with the emergence of conceptual art. But with the decline of modern thought and the establishment of its critical systems, the bell of the end and death of many concepts tolled. The present research, which was carried out with the descriptive-analytical method and with the aim of clarifying the relationship between the idea and artistic performance and the social status of the artist in history, especially in the late period of Iran, will show that at the beginning of the history of the artist as a creator, the basis of the mythological stories of creation had a special capability and activity in the matter of creation; that is to say that the artist and his art was interpreted in relation to the creationist matter, while in the later periods, the idea of art leaves behind the monopoly of the artist’s mind and personal perception. Here, art is committed to the thought and belief of its supporters; although this gives the work of art respect and importance, it lowers the status of the artist to the status of an anonymous craftsman. In the age of wisdom, once again, the artist, with her commitment to creating a work of art based on individual thought, succeeds in gaining a special position in the social arena.
Somaieh Shahrokhi, Manzar Mohammadi,
Volume 13, Issue 52 (12-2024)
Abstract
The use of clothing in art can serve as a powerful metaphor for the body. Bodies, when depicted with impurities resulting from violence, can evoke feelings of disgust and awareness in the audience. This article examines the works of Doris Salcedo, Christian Boltanski, and Anselm Kiefer, exploring how they utilize "clothing" as a representation of "bodies" to critique "violence."These artists employ clothing as a symbolic tool to represent violence in their works. By analyzing the diverse ways in which they utilize clothing, this article seeks to answer the following question: How can Julia Kristeva's concept of abjection be applied to analyze the works of Salcedo, Boltanski, and Kiefer, which utilize clothing as a tool for critiquing violence and representing loss, death, and violence? In the works of these artists, clothing serves as a metaphor for lost bodies. The abject theory, rooted in the rebellion of borders and systems and deeply connected to the visceral body, provides a compelling framework for understanding this representation.
Arezoo Masominia, Mina Mohammadi Vakil,
Volume 13, Issue 53 (Winter 2025)
Abstract
Cinema was initially silent and without the presence of verbal dialogues, it solely conveyed meaning to the audience through images. Thus, during this period, and even afterwards, the dominant expressive element in cinema was the image. The rules that were established in the foundations of visual arts were the same fundamental principles applied in the art of cinema. Cinema, built upon the scientific achievements of visual arts, formed the basis of the visual composition and the undeniable connection between these two artistic domains. Therefore, filmmakers who remained faithful to the rules and principles of visual arts or utilized them achieved significant success in incorporating aesthetic elements in their films. The main question of this research is, what influences has cinema accepted from the basics of visual arts in its framing? The research method is descriptive-analytical and its approach is historical. It is also a method of collecting library information and direct observation of works. According to the investigation and study of the history of cinematographic works, it can be said that the basics of visual arts are the inspiration of cinema, and by applying similar rules, cinema frames its works both visually and in terms of content. . In this research, a list of influential films and directors in the history of cinema from different countries and in different periods of time, in which there is a trace of visual arts before it, has been selected in order to be better and more comprehensive. It is possible to reach a complete summary of the influence of visual arts on the images of cinematographic works and analyze them.
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