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Showing 4 results for Knowledge
Nahid Abdi,
Volume 1, Issue 3 (8-2012)
Abstract
This article first discusses one of the key concepts in Iconographical Studies, namely “knowledge of motifs”, and then applies this concept to some paintings in Baisonghori and Tahmasbi Shahnamehs. The article further suggests that the usage of literary motifs in the paintings of Tabriz’s Safavid School, comparing to that of Herat Teimouri School, is done in such a delicate and wonderful manner that the motifs have been improved and turned into symbols. The article, therefore, concludes that the artists of the era were completely aware of the motifs they were selecting.
Mohsen Karami, Malek Hosseini, Masoud Olia,
Volume 5, Issue 19 (8-2016)
Abstract
As many have said, “ethical criticism of art” has been the most enduring topic in the philosophy of art; but, in this broad topic, we must distinguish two problems: the first is the possibility of ethical criticism of artworks, and the second is the relevance of such criticism to the aesthetic value of artworks. In other words, the first problem is whether we can reasonably engage in ethical criticism of artworks or not, whereas the second problem is whether the ethical criticism of an artwork relates to the aesthetic criticism of it. This essay, however, is just about the second problem. To deal with the problem, we firstly divided the arguments against ethical criticism of art into three divisions - ontological, epistemological, and methodological - and then, gathering the arguments for the possibility of such criticism, from radical moralism to moderate autonomism and even “immoralism”, we attempted to meet the opponents and show that it can be reasonable to criticize ethically.
Shahram Pazouki,
Volume 5, Issue 20 (11-2016)
Abstract
One of the main questions concerning the status of art in Islam is whether there is a knowledge or thinking in Islam as the origion of the works of art. In other words, is there any artistic vision in Islamic thought? If the answer to this question is negative, what can be said of the masterpieces of art from architecture to calligraphy in the world of Islam? However, if the answer is positive, there are following ambiguities which should be removed.
1. True religious knowledge in Islam should be distinguished from the dogmatic Islamic ideology.
2. The traditional concept of art in Islam should be discerned and be differentiated from the new concept of art in the realm of aesthetics.
Sepideh Abdollahi, Mohsen Karami,
Volume 7, Issue 28 (12-2018)
Abstract
The relation between ethics and art is a problem drawn artists and philosophers’ attention to itself from a long time ago. Since ancient era, philosophers such as Plato and Aristotle paid much attention to possibility of ethical criticism of art and its influence on aesthetic aspect of artworks;and then in the latter periods, other philosophers and artists, such as Tolstoy, Hume and Kant, expressed different views. The most famous views has known as Aestheticism, Moralism, Autonomism, Value Pluralism and Immoralism. The aim of this essay is to survey Immoralism, as proposed by Mathew Kieran, contemporary English philosopher. Daniel Jacobson helped him in it too. The view argues that sometimes artistic/aesthetic value of an artwork arises from its immoral nature, or a moral demerit in it. Kieran has alleged two sets of reasons, may called respectively reasons of emotional-cognitive responses and reasons of the power of art to provide knowledge. In this article, we have attempt, first, to make an exact expression of this view, and second, to support some of its reasons, and at last, to criticize and evaluate all the view.
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