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Showing 14 results for Philosophy
Hasan Bolkhari Ghahi,
Volume 1, Issue 3 (8-2012)
Abstract
The relation between Islamic philosophy and art, on the one hand, is the most important and fundamental problem, and on the other hand one of the most complex issues in the realm of philosophy of art in Iran. In past 20 years, several books of art thinkers in Western philosophy have been translated into Persian and made passion for research and study on art philosophy. But after a while, an important question in the design of the courses has become evident: are Western theories to be used for expressing non-Western philosophies of art? Put otherwise, can Islamic art be discussed and analyzed using Western theories? Some has had doubts about this, and for this reason, discussions on the subject of Islamic philosophy toward art have commenced. Since then, traditionalists’ opinions on Islamic art have been widely and seriously criticized, especially by some professors at Harvard University. Hence, this paper tries to tackle the following questions: What is the viewpoint of Islamic philosophy toward art? And, what thoughts, if any, have Muslim philosophers had to offer on art in the course of the history of Islamic philosophy.
Muhammad Reza Sharifzadeh,
Volume 1, Issue 4 (11-2012)
Abstract
Danto’s philosophical approach determines his methodical and theoretical discipline in philosophy of art and aesthetics. To start understanding his theories and philosophical thoughts, it is better first to ask what his understanding of philosophy is and what method he offers for philosophical investigation. Since Danto has written independent works in the realm, understanding his philosophical concerns about art involves the explanation of his general philosophical ideas. If his philosophy of art bears any innovation and unique treatment of art and representation, then it’s inevitable to fully understand his basic and rudimentary concepts on which his whole philosophy is constructed. Furthermore, and through investigating his basic concepts, one can find Danto’s general approach and conceptions. Contemporary art after the decline of modern art challenges Danto’s thoughts. As Danto puts it, contemporary art is nowadays connected to consciousness more than any other time. Danto puts forward a new approach in philosophy of art and art criticism based on his method of philosophical investigation. His specific methodology and philosophy of art will be discussed here in this article and their differences will be clarified. Meanwhile, it is discussed that, according to Danto, examining the condition of contemporary art and its status in history of art is one of the dominant issues in philosophy of art and art criticism.
Alireza Ismaeilzadeie Barzi,
Volume 1, Issue 4 (11-2012)
Abstract
In this article it would be tried to elaborate Alain Badiou’s novel view to the relationship between art and philosophy and furthermore to illustrate the role that “interpretation” plays in his novel view. Badiou believes his point of view toward this relationship to be the opposite of three visions which, to his eyes, have been the dominant views across western history of philosophy: didacticism, romanticism, and classicism. He thinks that in none of these three views the relationship between art and truth has ever been regarded as “singular” and “immanent”, that is to say, art has never been honored as the producer of a truth of its own. Badiou renders art such a status of having its own truth next to that of science, politics and love. This new relationship between art and truth brings about a new relationship between art and philosophy. In this new relationship, philosophy is neither art’s master nor its servant it does not impose meaning on art from outside and its task is not to interpret or express the truths that art has reached to. According to Badiou, since artistic truth is restricted to art itself and since the truth is basically something contrary to extant meanings, therefore, philosophy cannot share or express through interpretation and illustration the truth that art produces. What philosophy does in relation to art is to draw a distinction between truths and doxas or “common beliefs”, and hence to declare the artistic truths.
Mohammadreza Rikhtegaran, Mansoureh (noshid) Mahmoudi,
Volume 4, Issue 14 (5-2015)
Abstract
Gabriel Marcel is a contemporary French existential philosopher, dramatist, musician, theater and music critic.
As he says his love for music and theater stems from his passionate interest in the individuality of beings and irresistible attractions of reality. In existential philosophy he opens the hope path to human beings challenges the man and his situation in his dramas and searches a way for developing his thought in music. His mode of thinking is concrete and objective, and so conforms totally to the theater’s essence as a fully tangible art.
Marcel’s plays do not provide answers but they do suggest paths of light for reflection whereby we might discover an authentic response to the challenge of the dramatic situation. Indeed, after the curtain falls spectators reflect on the questions raised not only in relation to the characters in the play but in relation to their own lives as well. It can even be said that reading his dramas provides a better ground to understanding his philosophic concepts. Introducing his works seems necessary as none of his dramas has been translated into Persian yet. While presenting his dramas this article is an inquiry about how Marcel’s philosophic terms are reflected in the themes of his dramatic works. Some of these terms include: death, presence, faith, creative fidelity, mystery and hope.
Arshin Adib-Moghaddam,
Volume 4, Issue 17 (12-2015)
Abstract
The article sketches a nexus between philosophy, art (poetry) and critique with a particular emphasis on the contribution of classical Muslim philosophers. At the same time, it demonstrates how luminaries such as Omar Khayyam and Ibn Sina, contributed to the renewal of philosophy as a freedom seeking exercise and as a means to pursue happiness through knowledge. In the second part of the article this discussion is geographically de-located to include critical theories from mainland Europe. The conclusion focuses on the comparability of these contemporary critical theories with the philosophies of the “east”.
Azadeh Emadi,
Volume 4, Issue 17 (12-2015)
Abstract
This article brings together tiles of 16th century Persian architecture and 21st century digital tiles of moving image to explore new potentials beyond the perceived image. As minimal parts of a bigger image, they both appear still and motionless. However, Persian Islamic philosopher, Mulla Sadrā Shirazi’s (1571-1640) theory of ‘substantial motion’ (al-harakat al-jawhariyya) argues that, at the level of substance, an invisible internal motion and change takes place. Due to this internal change, aspects of the Divine Being constantly manifest in the existence of entities. Sadrā’s unique view on existence suggests that all living and non-living entities, as manifestations of the Divine Being, have certain experiences of the universe. To think that an image, a tile, or a pixel, as an existing entity, has certain experiences can unfold new avenues for creative thinking/making in digital moving image that can reveal what is hidden from human perception.
Farshad Fereshte Hekmat,
Volume 5, Issue 19 (8-2016)
Abstract
During 100 years of the cinema history too many poetic and artistic movies have been made based on visual, dreamlike and different world especially against the real world. These movies tend to deconstruct and to break the norms a process known as defamiliarization. This cinema is based on intuitions. The content and structural functions of the artistic cinema are to make questions and to stimulate audiences to contemplate. Therefore, documentary and storyboard movies of this kind are not the pure reflection of the reality and they discover the facts beyond the common life, nature and universe. Hence, we may use hermeneutical criticism, philosophical criticism, typology and linguistics to understand this type of cinema. This cinema is based on visual language and the dialogues has main role in it. The artistic, poetic cinema’s admirable efforts are about innovation, breaking the norms, empiricism, deconstruction, and including philosophical illuminating massages and concepts (in the vast and the positive way). Darren Aronofsky used the world of dreams, myth, legends, and rituals as the sources of inspiration in poetic, artistic movie “The Fountain”. Love, beauty, worship of life, glory of nature, redemption, the criticism of violence, ontology, showing the pains and happiness and feelings of the human being are the content and the idea of this movie; moreover, this film includes the philosophical, theosophical, anthropological, psychological, mythological, and allegorical substrata.
Shirin Aalee Koloogani, Parisa Shad Qazvini,
Volume 8, Issue 30 (5-2019)
Abstract
The increasing growth of technology in the twentieth century has brought about profound developments in the relations between man and the world. These developments, which included large industries and automatic and semi-automatic machines, necessitated the question of technology not only by intellectuals, but also by artists. Thus, different approaches to technology were formed, all of which were subdivided into two types of determinist approaches, namely the utopian and the dystopian that each predicted a certain destiny for humans alongside technology. The utopianists considered technology as the key to human success and dreams, whereas the dystopianists saw nothing in the technologic world but destruction and decay. But the passage of time, the changes that took place in role of technology, as well as the developments which transformed human life-world, all are evidences of the insufficiency of these approaches in analyzing human-world relations through technology. The same is also true for the changes in the analytical context of the 20th century art, when the combination of art and technology took its first steps. Now the question is,how to lay the theoretical foundations of the 20th century machine art, in order to reach an analytical framework beyond deterministic viewpoints. In this regard, it seems that the ideas of those thinkers who besides technology are concerned with the human knowledge, are applicable. Meanwhile, Martin Heidegger’s ideas are especially valuable, in that he recognizes an ambiguity in the nature of technology that eventually results in emancipation of technology from the clutches of the determinists. Following Heidegger’s theory of technology will lead our way to Don Ihde, who not only is heavily under Heidegger’s influence, but also believes that he goes beyond Heidegger in facing with the deterministic approaches. By a phenomenological method in his philosophy of technology that could be considered as a synthesis of husserlian and heideggerian types, Ihde shows that his quadruple system which accords the relations between man, the world and technology, reveals a more complete picture of the aforementioned relations than deterministic approaches. Thus, by employing Ihde’s philosophy of technology and his phenomenological method, the present study tries to explain the presence of the machine as a symbol of technology in the works of the Avantguard artists of the first half of 20th century, regardless of a deterministic look to the implications of technology. The theoretical framework of this study, which attempts to take steps in the path of phenomenology, is based on Ihde’s quadruple relations in his philosophy of technology, and at the same time there is an effort to show its advantages over deterministic standpoints. Eventually, what is extracted from Ihde’s ideas in order to found an aesthetics for the machine art, is the ambiguity that lies within the heart of technology; the ambiguity which is recognizable and common in all the artworks that deal with the machine.
Vahid Yadegari Srour, Shima Khodabandeloo,
Volume 8, Issue 30 (5-2019)
Abstract
In this article, by examining the artistic beauty and explaining the elements of artistic beauty from the point of view of Allameh Tabatabai, one can provide
a correct explanation of the order of existence of artistic value. Using the rational-analytic method, we examine the theory of aesthetics from the perspective of Allameh in order to clarify Allameh’s objectivism in the philosophy of art. The role of the art supervisor in practical wisdom and Atebariat- theory of Allameh is important, and the artistic observer has a Hozory-dark of the realities of artistic phenomena. In the next step, he uses Hosoly-dark of artistic phenomena in the form of artistic values in artistic and aesthetic theories. And to understand artistic values correctly, we need to know the realities of art, as well as the particular kind of relationship that exists between reality and artistic value. So, without knowing the real art, understanding the aesthetics of Allameh Tabatabai is not possible. Finally by considering various philosophers’ explanation of the elements of beauty as well as the philosophical foundations of the Allameh, the place of Allameh’s artistic values in the philosophy of art will be determined.
Bardia Heidari,
Volume 9, Issue 34 (5-2020)
Abstract
The main objective of this essay is to re-examine the nature of sculpture and its importance among arts via retrieving and studying the relatively neglected importance of touch in the experience of this art. This objective is pursued according to eighteenth-century German philosopher, Johann Gottfried Herder, by focusing on his Sculpture: Some Observations on Shape and Form from Pygmalion’s Creative Dream, where he insists that sculpture is originally a tactile art, and therefore has a distinct position among arts. In the present essay, after giving a short account of the background of the dispute over comparison of arts in eighteenth century, and inquiring Herder’s stance in this dispute, it is explained that he, by proposing the concept of force to be the chief criterion for judging arts, and by claiming that our sense of touch corresponds to the obscure force of Being, concludes that sculpture is an art with fundamental potential to perceive this force.
Abdollah Aghaie, Hanif Rahimi,
Volume 9, Issue 37 (1-2021)
Abstract
From the middle of the Safavid era, with the expansion of relations with the West, European landscapes were used in various ways in the composition of paintings called “FARANGI-SAZI”. In this article, by adopting a hermeneutic approach, the epistemological context necessary for the emergence of “landscape painting” as an independent genre in European painting has been studied and then the transformation of these landscapes in late Safavid painting has been “analyzed” and “interpreted”. The findings of the article indicate that the European landscapes in the painting of that time were considered as “Paragone” as a region next to or behind the main narrative, so the landscape continues its previous role as the “background of the narrative” in the Persian Painting. This shows the continuation of the aesthetic tradition of Iranian painting in painting called FARANGI-SAZI. Despite the enthusiasm of patrons and painters for European landscapes, not many of the remained landscape paintings of this era are done by Iraninan painters. The emergence of landscape painting in post-Renaissance Europe required the establishment of a special form of the dialectic of reason and mimesis. In this dialectic, the mimetic aspect of the landscape shows the subject’s effort to compensate for the growing alienation from nature, while this moment (imitation) in Iranian painting has a narrative and conceptual direction and the “gaze” of the painter depends more on the idea of “Verbal Narrative” than on the objectivity of nature ahead.
Maryam Bakhtiarian,
Volume 11, Issue 45 (3-2023)
Abstract
Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.
Saharnaz Berangi, Ali Moradkhani, Yahya Ghaedy,
Volume 13, Issue 50 (5-2024)
Abstract
The present article aims to analyze two approaches, Aesthetic and Pragmatistic, among the approaches to the philosophical field of music education. Pragmatists show how music is associated with the scientific paradigm and socio-cultural actions; on the other hand, music education seeks to increase the ability of perception, experience and evaluation of the aesthetic qualities.This will not be possible without using the aesthetic approach.The question of the research is whether the aesthetic perception of music and its perception as a social action are more compatible with each other, or are the two views completely opposite and contradictory?The method of data acquisition is based on library research and using texts of two approaches since the mid-1950s.The research method is qualitative and based on descriptive-analytical method;for this purpose,the theories of two approaches were taken into consideration in order to achieve the reconstruction of the aesthetic approach by considering the negative and positive attitude of each of them and passing the Bipolarity. In this reconstruction, the paper is relied on the tools, method and philosophical content of music education, which was presented on the basis of the theories of the two mentioned approaches.The results of the research showed that if we consider the aesthetic experience in music more as an act of creating meaning than internal reflections, music is no longer an independent object with an inherent meaning, and there will be no need to abandon the aesthetic approach the way that is done in pragmatism. The aesthetic experience in reconstructing the aesthetic approach refers to the way someone interacts with the aesthetic object, which requires cultural education. Modern education is based on the fact that every child should have the opportunity to expand their abilities to observe, experience, evaluate and create the Beauty. This can be achieved by planning music education using both approaches.
Hoda Refahi, Ali Moradkhani, Majid Parvanehpour,
Volume 14, Issue 54 (7-2025)
Abstract
Richard Wollheim contends that the experience of seeing a representation is a distinct kind of visual experience, different from other modes of seeing. Drawing inspiration from Wittgenstein's concept of "seeing-as" and aiming to address its shortcomings, Wollheim introduces another aspect of seeing, termed "seeing-in." This experience encompasses both the intentionality of the artist and the dual (or twofold) perception of the viewer. Wollheim's reconsideration of the theory of pictorial representation within the tradition and context of analytical philosophy leads to a novel approach in the phenomenology of visual experience and image perception, addressing the inadequacies of previous theories.Among philosophical engagements with the issue of pictorial representation, Wollheim's response to the nature of this mode of seeing and its distinction from other theories is that, firstly, "seeing-in" extends the scope of representational seeing of images. Secondly, it halts the causal dependencies of the image on the represented subject. Thirdly, it allows for the particularized understanding of the image. Fourthly, it can explain the simultaneous perception of the represented subject and the medium/material of the artwork. The methodology of this article is descriptive-analytical, and the data collection is conducted through library research. By explicating the complexities of the theory of pictorial representation and reflecting on its instances, the article aims to provide a foundation for qualitative research in analytical aesthetics and the understanding of artworks within the tradition of analytical philosophy.
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