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.
