per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
7
15
article
A Study on the Reasons of Visual Artists’ Tendency to Self- Portrait
Faezeh Hassanshahi
1
Mohammad Reza Sharifzadeh
2
دانشگاه آزاد اسلامی، واحد تهران م
Investigating the art of self-portrait, which incorporates a large body of artistic works, is a crucial task in art criticism. Self or ego has always been the most essential to one’s being and as a fundamental feature in the study of individualism, originality and character, it has played an irrefutable role in art. It is inevitable for human to know himself/herself and art, originated in one’s character and experience, is an internalization of what is comprehended, a stimulus for thought and finally a manifestation of human desire. Self-portraits are works of art which reveal human experience in encountering his/her image. As such, studying the variety in their focuses deems promising. All people have experienced such an encounter with their images but it has been the self-portraitists who have registered their experiences. In the main, this article focuses on the causes of appearance of self-portrait as an art form and the reasons why it has always remained animate.
http://kimiahonar.ir/article-1-141-en.pdf
self-portrait
self-fashioning
self-presentation
self-exploration
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
17
25
article
Sacred Architecture: The Incarnation of Correspondence between Human and Universe
Hasan Bolkhari Ghehi
Hasan.bolkhari@ut.ac.ir
1
Belief in unity is the basis of Traditionalists’ thought and polarity is the basis of Modernists. In a traditionalist worldview, all dimensions of universe are connected to eachother and especially to Homo. In point of Plato's view in Timaeus, human and universe are together. Correspondence between world, human and temple, a God's house, is a manifestation of this unity. Sacred architecture is the perfect symbol of the complete relationship between human and universe. Upanishads is the manifestation of this concept in Hinduism wisdom. Formal rituals of worship turn into inward ones in Vedanta Wisdom. Accordingly, instead of human or animal sacrifice, it is the soul of the wayfarer that is sacrificed. Furthermore, temple turns into the body of sacrifice and instead of sacrifier, that is the Brahman, the wayfarer himself becomes a sacrifier and the temple, as the place for sacrificing, is replaced with his body. In consequence, human body also determines temple’s geometrical dimensions both in Hindu and Christian architecture. In traditional teachings, sacred place or temple is a microcosm and is considered by almost all Traditionalists as the perfect symbol of
universe. In essence, it follows from this
worldview on the one hand and from the
belief in the correspondence between geometrical
dimensions of human body and
temple on the other, that temple is the geometrical
and incarnated example of principle
of correspondence between human and
macrocosm. This article considers the relation
between human and universe in philosophy,
and sacred architecture, especially
in Islamic wisdom and Ikhwan al-Safa
thoughts.
http://kimiahonar.ir/article-1-142-en.pdf
principle of correspondence
universe
human
temple
sacred architecture
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
27
44
article
A Research on the Issue of Representation in Pop Art
Davoud Mirzaei
1
Ne’mat-o-llah Abdi
2
This article intends to study the issue of
representation in Pop Art. Here we define
representation as a process through which
the audience identifies an external reality
in the heart of the pictorial elements of a
tableau which is exterior to the pictorial
world or rather only familiar to his mind.
For this purpose, we would examine “representation”
from cave art to art of the
middle 20th century i.e. when the representational
elements in artistic work wane
for different reasons. But representation
regained its importance no sooner than the
emergence of Pop Art in 60s and consequently
representational pictorial elements
has so far turned into one of the critical issues
of postmodern events in art. This article
would analyze the fundamental artistic
and social reasons for such attention to representation in Pop Art while remaining
focused on works of the distinguished artists
of the movement, those like Jasper
Johns, Robert Rauschenberg, Richard
Hamilton and James Rosenquist.
http://kimiahonar.ir/article-1-143-en.pdf
representation
Pop Art
abstract expressionism
post-painterly abstraction
pictorial signs
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
45
58
article
Heterotopian Cinema according to Foucault’s Discourse on Power
Sahereh Gholami
1
Michel Foucault’s discourse analysis focuses
on power relationships in society as
expressed through language and practices.
Heterotopia is also a concept in human geography
elaborated by him to describe
places and spaces that function in non-hegemonic
conditions. These are spaces of
otherness, which are neither here nor there,
that are simultaneously physical and mental.
According to him, heterotopias are
places which have connections with ordinary
spaces and social structures. While
introducing heterotopian characteristics
and functions, Foucault claims that the
places are after all institutions of the power.
Parallel to this, Foucault believes that
since the globalized web and the formation
of different types of heterotpoias, the power
is no more restricted to one center only
but develops through a rhizomatic web of
multiple relations. Now, regarding this approach
to places and knowing that Foucault
considers cinema as a kind of heterotopia,
one can find so many films that,
while following the logic of power, visualize
utopias suspended between reality and
hyper-reality. The common characteristics
of these works, is their stylistic and semantic properties. This article would analyze
the common Foucauldian elements that
can be found in these cinematic works, especially
“One Flew over the Cuckoo's
Nest” and “Fahrenheit 451” to further
reach an intertextual reading and provide a
philosophical analysis of them.
http://kimiahonar.ir/article-1-144-en.pdf
power
heterotopia
heterotopian cinema
disciplinary power
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
59
72
article
Art and the Truth of Media at Post- Modern Era
Soheila Mansourian
sizarta_dey@yahoo.com
1
According to Jean Baudrillard, contemporary
French philosopher, the concept of
media and its function has faced major
turns and changes in the end of its path,
namely the contemporary era. Unlike what
the masses (in their complete unconscious
state) expected, the media has moved in
the opposite direction of communication
and towards the deconstruction of information
in accordance with each societies’
interests.This process has stabilized itself
through manipulating the signs, sense-depleting
strategy, and neutralization of the
values and more importantly by seducing
the audience and forcing him into silence
and passivity. Through this process the red
lines of individual life, taste, interests,
ideas etc. has been changed and turned into
a field for media, through which it can fulfill
its goals so that, ultimately, the main
prey, who is the individual, is assimilated
into media and changed into a medium in
its own. In this paper, using Baudrillard's
interpretation of media and its influences,
it would be make clear how this process
started only to end up having a subject who
is empty of sense and an individuality that
remains in a simulated and hyper-real
space.
http://kimiahonar.ir/article-1-145-en.pdf
hyper-reality
simulation
implosion
explosion
real time
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
73
85
article
A Rousseauian Reading of Universal Subjectivity and General Will in theSecond Moment of Kant’s Critique of Judgment
Mehdi Kord Noghani
sigol-mahdi2005@yahoo.com
1
In the second moment of his third critique,
Kant elucidates subjective universality of
judgments of taste. This universality demands
others’ conformity as a kind of
right. Some of Kant’s interpreters link this
demand to morality, but it seems that
Kant’s argument for universality of judgments
of taste is ambiguous because in
some parts of his book he differentiates between
morality and thedemanding conformity.
Necessity of demanding a conformity,
and not expecting it, enhances this
ambiguity because brings it closer to the
practical reason. It seems that juridical
reading of subjective universality of judgments
of taste can explain this universality
as a moralmatter, without reducing it to
morality. In Kant’s opinion judgments of
taste entail conformity to a “universal
voice”. Through the resemblance between
Rousseau’s idea of “general will” and
Kant’s “universal voice”, we would be
able to shed light on this ambiguity. Aesthetic
judgments need others and therefore
there is no universality for it except in society.
http://kimiahonar.ir/article-1-146-en.pdf
judgment of taste
subjective universality
second moment
universal voice
general will
sociability
per
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2013-11
2
8
88
97
article
A Reflection on the Concept of Ghadr (Value) in the Fundamental Theory of Art, Architecture, and Beauty in Islamic Civilization
Seyyed Kamal HaajSeyyedJavadi
hsjavadi@yahoo.com
1
Regarding the importance of theoretical arguments about Islamic Art,
a serious and coherence theory of Islamic Art and its philosophical
fundamentals is needed more than ever. What historians, Traditionalists
and critics present in their works fails to shed light on all aspects
of Islamic Art. Lately, there has been published a booklet by Doctor
Hassan Bolkhari under the title of “Ghadr: A Fundamental Theory of
Art, Architecture, and Beauty in Islamic Civilization”. I’ve studied
that booklet and found some of its ideas disputable. Parts of the booklet’s
core ideas were previously published in “Mystical Rudiments of
Islamic Art and Architecture” by same author. Here I am to discuss
some of the basic ideas and concepts of the booklet and provide some
insights on them.
http://kimiahonar.ir/article-1-147-en.pdf
Ghadr (Value)
Islamic Art
Traditionalist
architecture
criticism