per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
7
22
article
Cross-Cultural Approaches in Art Criticism
Helia Darabi
1
Mehdi Hoseini
2
Academic disciplines of art history
and art criticism are generally based on
Western canon, the textbooks for these
disciplines –internationally- being mostly
focused on a historical study of Western
art and its underlying aesthetic principles.
In recent decades, however, this situation
has changed, and as researches from various
cultural backgrounds have gradually
joined these disciplines, a heightened
awareness regarding non-western art and
aesthetics has been raised. Cross-cultural
art criticism is based on the notion that
the definitions and manifestations of art
differ in various nations and cultures, and
therefore a standard, Western framework
for art criticism might not be applied to
all of these various practices and worldviews.
Cross-cultural approach underlines
contextual studies and mostly favors anthropological
approaches and methodologies.
It does not study the work of art per
se and in isolation, but its aim is to understand
the people through their works of
art. Therefore, the works of art should be
studied in regards to their original context,
and be viewed in the same way that their
creators viewed them. The work of art is
not a subject to study out of sheer curiosity,
but it is a manifestation of complex
metaphysical, social, and emotional issues
of a certain culture.
http://kimiahonar.ir/article-1-190-en.pdf
art criticism
cross-cultural criticism
visual anthropology
non-western
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
23
34
article
The Relation Between Music and Education in Plato’s Philosophical System
Shams -ol- molouk Mostafavi
sha- mostafavi@yahoo.com
1
In Plato’s view the education has a
particular status. For him, it is by means
of education that our souls can be loaded
with virtues and be purified of vices and
then the education makes our souls beautiful
and worthy of divine setting. Plato,
therefore, deals with everything, including
arts and skills, that contributes to educate human beings. On account of the profound
influence of music on addressee, he
regards music as an efficient means to put
into order, refine, and elevate soul. In this
educative process, a man is exalted by the
strongest spiritual powers, i.e. rhythm and
tone, and he comes to the conclusion that
it is possible that the man is attained to supreme
good in the light of true education.
In Plato’s eyes, of course, such education
is the prelude to philosophical education
and its complement.
The aim of the present article is to
show that the reason why Plato places a
premium on music is that it plays the key
role in educating humans, rather than by
virtue of its artistic and aesthetic features.
Considering this aim, the article proceeds
to investigate Plato’s positions on education
in Republic and Law.
http://kimiahonar.ir/article-1-191-en.pdf
Plato
education ( paideia )
mosike
music
Law
Republic
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
35
54
article
Philosophy of History and Art Historiography from the Traditional and Modern Perspectives
Samaneh(samin) Rostambeigi
saminrostambeigi@gmail.com
1
Sa’id Zavieh
Zavieh@art.ac.ir
2
Studding history and the results which
are subsequently inferred from it are based
on the paradigms which make the basis of
historiography. The quiddity of history
and the path which it passed to be considered
as a science is as complicated as
the humans’ life. The word “history” has
two main meaning: first, it means what
has happened in the past, and second, the
knowledge about that happening which
is gained through the written texts. Most
of the time, the second meaning is taken
into account as the meaning of history. In
this path, art history and historiography of
art are of extraordinary importance and
hence the artistic works are considered as
the beginnings of humans’ spiritual and
cultural life. This research has tried to answer to the question that what the history
and its path are by considering the traditional
and modern approaches of historiography.
In conclusion, with looking at
art history as a chosen case, history isn’t
just the event which has happened in the
past, but is the chosen subject which its
importance was considered by the historian
and the way that he writes it down.
Accordingly, the cultural, philosophical,
social and even political development in
each era has the vital effect on the method
of historiography of each period of time.
In any case, historian shows the reflection
of his thought in his writing, so obviously
his manuscript couldn’t be apart from his
mentality and personal choice which is the
dilemma both in traditional and modern
historiography.
http://kimiahonar.ir/article-1-192-en.pdf
history
historiograghy
art history
tradition
modern perspectives
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
55
66
article
Perception of Beauty in Rumi’s View An Epistemological Approach
Esmael Panahi
panahi.e@gmail.com
1
Abbas Oskoueian
abosko@gmail.com
2
In aesthetic theories of western philosophical
schools, beauty and its perception
are investigated and explained in terms of
sensory perception, in a subjective approach
and merely from an epistemological
perspective. But in Islamic philosophy
and mysticism we find a distinctive
approach to the problem of beauty and
its perception. This paper is an attempt
to understand of this approach through
the study, reconstruction and explanation
of the concept of the beauty and its perception by Rumi’s key term, “Hayra”.
On his understanding, through inner perception
of manifestation of divine beauty
and creative imagination, human drowns
in waves of love and perplexity ocean
an ontological perplexity which will lead
him to the beach of guidance and salvation.
Perception of beauty in Rumi’s point
of view is not a mere sensual pleasure, but
a way to guidance and development of the
wayfarer’s existence and connection to
the source of being, truth, goodness and
beauty.
http://kimiahonar.ir/article-1-193-en.pdf
beauty
perplexity
manifestation
love
form
formlessness
outward
inward
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
67
78
article
Correspondence of Aesthetic Judgment in Farabi through Kant’s Ideal of Beauty
Javad AminKhandagi
a.khandaqi@gmail.com
1
Farabi, “the Second Teacher” and the
founder of Islamic philosophy is one of
the most important philosophers in the
history of Islamic philosophy. Like other
Muslim philosophers and mystics, he has
no independent argument about aesthetic
concepts. In this research, one of the main
concepts of modern aesthetics, namely the
“aesthetic judgment”, is analyzed according Farabi’s perspective, and to achieving
this, some of the key concepts of Kant’s
aesthetics, as one of the turning points of
modern aesthetics, are used. In this paper,
concepts such as “second perfection”, in
the philosophy of Farabi, and “the ideal of
beauty” in Kant’s philosophy are evaluated
and then new explanation is introduced
of aesthetic judgment in Farabi. The results
show that for Farabi the canonical
art is that art which has some features,
and leads audience toward true happiness.
This canon corresponds to Kant’s definition
of ideal beauty, and is made clear
with combination of the aesthetic normal
idea and the rational idea in the philosophy
of Kant.
http://kimiahonar.ir/article-1-194-en.pdf
beauty
second perfection
the ideal of beauty
dependent beauty
aesthetic judgement
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
79
98
article
Trinity of body, medium and image in Hans belting’s view
Amir Nasri
amir.nasri@yahoo.com
1
Hans Belting’s thesis of image anthropology
(Bild-Anthropologie) for the analysis
of image characteristics has its roots
in the tradition of philosophical anthropology.
He holds that in the analysis of every
image the trinary components of medium,
body and image together must be taken
into consideration, and these components
are thus inseparable. Belting’s definition
of each of these components also differs
from the traditional view, such that he
doesn’t regard the medium as merely the
mediator for the image, rather each image’s
existence is dependent on a medium.
Also, the body (Körper) can play multiple
roles, as the medium of the image, the image
itself, or the recipient of the image. He
believes that every image is a substitutionary
body for an absence hence the idea of
loss or death can in a way be regarded as
the origin of the image. Belting’s view as
to image anthropology gives rise to a new
iconology, the aim of which is the analysis
of images on the grounds of their own
logic, rather than analyzing them on the
basis of written texts.
http://kimiahonar.ir/article-1-195-en.pdf
Image
medium
body
gaze
new iconology
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2014-04
3
10
99
108
article
Centralism, Symmetry, and Repetition in Persian Traditional Arts
Mahdi Makinejad
makinejadm@gmail.com
1
Traditional arts are indeed applied arts
that have been and still are being made in
the course of time, from past to present,
in accordance with collective taste and
aesthetic sense and on the basis of some
regular, rooted and logical rules. Artistic
creation in this territory has been affected
by visual and contextual traditions and
has been used as the transmitter of rituals,
myth, and general interests and tastes
of traditional society. These kinds of arts,
notwithstanding their diversity and distribution,
have common aspects both in
form and in meaning. In response to the
basic question that what elements bind
and link these arts together in spite of
their geographical and cultural diversity,
a hypothesis is proposed here according to
which, “centralism” should be regarded as
the most striking joint feature of these arts
and their common intersection as well.
Not necessarily a physical location, this
center is indeed a pervasive and intrinsic
essence which bears relation to dominant
attitudes and prevailing thoughts in traditional
society. This research would conclude
that the unity and integrity of traditional
arts are indebted to a center which
is, though sometimes visible and sometimes
invisible, always dynamic. In this
framework any artwork is evaluated and
esteemed according to its closeness to or
distance from that center. This closeness
or remoteness can be considered as a factor
in the evaluation of artworks.
By dint of an analytical and descriptive
approach, this article pays attention
to three important elements of centralism,
symmetry, and repetition in the traditional
arts in terms of form and meaning.
http://kimiahonar.ir/article-1-196-en.pdf
traditional art
elements of visual arts
centralism
symmetry
repetition