@article{ author = {Mousapour, Mohammad Yasser}, title = {Analysis of the Ontology and Epistemology Bases of the Grounded Theory}, abstract ={Grounded theory is one of the qualitative research methods that is considered for creating a theory from the reality in a holistic approach.  In fact, every research methodology is based on a set of epistemological principles that validate produced knowledge. Qualitative research methodology has been often explained by phenomenological epistemology in Persian texts. Although it can be true, grounded theory is explained in terms of pragmatism and symbolic interactionism lessons of its inventors. This study reviewed these two points of views in order to make a deeper understanding of grounded theory as a methodology. Desk study and logical reasoning were applied for the study. The results show the ontological assumptions about the complexity of reality and relation of subjectivity and objectivity suppose knowledge as a part of it’s subject. These epistemological principles lead to the main principles of grounded theory: replacing samples by participators, growing from Part to whole, assuming researcher as the research tool.}, Keywords = {Qualitative Research, Grounded theory, Epistemology, Pragmatism, Interaction theory}, volume = {6}, Number = {25}, pages = {7-22}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1177-en.html}, eprint = {http://kimiahonar.ir/article-1-1177-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} } @article{ author = {Refahi, Hoda and JavidSabaghian, Megh}, title = {Contextual Analysis of Neo-traditionalism in Iranian Contemporary Art (1960s), from Foucauldian Discourse Analysis Perspective}, abstract ={The “neo-traditionalist” discourse has appeared following the general strategies of the power structure and the mindset of the intellectuals in contemporary Iranian art. Intellectuals mental support of the creation of an anti-west-toxification (a derogatory term used for westernization) discourse and returning to former ways, and also the support of power structure for creation of a neo-traditionalist discourse, directs the artists to a path of differentiating the modernist Iranian art from the western modern art. In such a circumstance, it is obvious that artists would accept their position in the predominant discourse, and legitimize themselves by it.  Analyzing the relationship between the level of artists’ (neo-traditionalist) discourse and the levels of other intellectual and institutional discourses in the contemporary Iranian art and critiquing the influence of these levels on each other are the objectives of this study.  The research method is analyticaldescriptive- historical and the data is collected through documentary research method. The overall approach and theoretical framework is based on some of the concept in of Michel Foucault’s historicism, the French philosopher of the twentieth century.}, Keywords = {Contemporary Art, Iran, Discourse, Neo-traditionalist, Rupture, Michel Foucault}, volume = {6}, Number = {25}, pages = {23-37}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1178-en.html}, eprint = {http://kimiahonar.ir/article-1-1178-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} } @article{ author = {AaleeKoloogani, Marzieh and ShadQazvini, Paris}, title = {Reading of Dadaism and Surrealism Drawing in light of Heidegger’s Critique of Technology}, abstract ={The art of the 20th century’s first half, indicates various responses by art movements such as Dadaism and Surrealism towards modern technologies. Certain intellectuals including Martin Heidegger took varied position regarding technology. By proposing a phenomenological stance, he challenges the natural approach of man toward the appearances of technology, and ultimately announces that the essence of modern technology has dominated over other ontological relations of man and has reduced human world to mere technological relations. Now, the questions is, drawing on Heidegger’s critique, is it possible to make a philosophical account of the responses of Dadaist and Surrealist artists toward technology? The present study, tries to affirm its hypothesis regarding the existence of shared components in Heidegger’s ideas and work of the above mentioned artists, by providing a symmetrical reading of the two. Therefore, this research adopts a philosophical approach, by which it will be concluded that we may consider the skepticism and pessimism towards technology and also the probability of the emersion of a Dystopia, as common points of the connection between Heidegger and Dadaism and Surrealism in the realm of technology.}, Keywords = {Technology, the Machine, Phenomenology, Surrealism, Dadaism}, volume = {6}, Number = {25}, pages = {39-57}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1179-en.html}, eprint = {http://kimiahonar.ir/article-1-1179-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} } @article{ author = {Haghbin, Roshanak and Zafarmand, Seyed Jav}, title = {Comparison of the Concept of Sacred Art between Frithjof Schuon and Mircea Eliade}, abstract ={Essence of the sacred and its embodiments in art are subject of many researchers attention involved in religion and art. Among them are perennial philosophers like Frithjof Schuon who considers art as a manifestation of the sacred and has deep considerations towards art and the sacred. Mircea Eliade also as a researcher in religion has addressed the matter of relations between art and the sacred. This paper intends to compare the two thinkers’ opinions about sacred art by means of bibliographical resources and analyzing them. Although similarities can be seen in defining the essence of the sacred and its functions between Schuon and Eliades’ ideas but their analysis method to form their thoughts are very different. Finally, the distinct viewpoints of Schuon and Eliade regarding the presence of the sacred in modern art are compared as well.}, Keywords = {The sacred, Sacred art, Frithjiof Schuon, Mircea Eliade}, volume = {6}, Number = {25}, pages = {59-72}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1180-en.html}, eprint = {http://kimiahonar.ir/article-1-1180-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} } @article{ author = {Tahoori, Nayer}, title = {Learning from Heidegger: Phenomenology in Architecture The Impact of Heidegger’s Philosophy on Architectural Theory – The Identity of Place in Theories of C. Norberg-Schulz and C. Alexander}, abstract ={The text is focused on Martin Heidegger’s phenomenological thought that influenced some of the Western architects who established a new style called Post- Modern Architecture. Referring to poetic thought of the great German poets, Heidegger called poetry as the best way of thinking. Aspiration of Holderlin’s poem: “poetically man dwells,” led him to the “poetic dwelling” idea of human existence. Heidegger’s approach to art and architecture considered a special role for language and poetry in perception of environment. The impact of his phenomenological method on the two pioneers of Post-Modern architecture, Christian Norberg-Schulz and Christopher Alexander, made some new ways in architectural design. They submit “phenomenon of place” to solve the problem of “Identity” in architecture, which was rejected completely in Modern architecture under the name of International Style.  Here, the phenomenology method is used as the study approach on Heidegger’s philosophy and its influences on architectural theories of Post- Modern Architecture. The goal is to show that architectural identity, deeply depends on every building’s context and its raising up ground.}, Keywords = {phenomenon of place, architectural theory, M. Heidegger, C. Norberg-Schulz, C. Alexander, Identity of place, poetic dwelling}, volume = {6}, Number = {25}, pages = {73-92}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1181-en.html}, eprint = {http://kimiahonar.ir/article-1-1181-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} } @article{ author = {Zehtab, Fatemeh and Hesami, Mansour}, title = {Women Painters and Representation of Sexuality in the Art of Modern Iran}, abstract ={Along with transforming whole aspects of Iranian’s personal and social lives, Iran’s encounter with the West in current two centuries led to forming the general idea of social equivalence as well as particular concept of equality between men and women. Although these notions found their way to the public sphere through women’s formations and journals and also some specific historical events such as Reza shah’s unveiling of women (1935), they weren’t reflected in Iran’s established art scene of the era. This article searches for interactions between painting and social status in this period. Whether painters have had any notion about social changes regarding sexuality? Whether they’ve used their media to reflect their conceptions about it? If it’s not so what the reasons could be? This article tries to find answers to such questions in the duration from foundation of Kamal-almolk painting school in 1911, then it goes to modernist paintings of the mid-1940s to the end of 1950s. The method for this research is feminist critique utilizing the concepts of agency and representation. The research shows that centrality of the ideas of modernization/westernization and the concern of modeling in Kamalalmolk school of art and the obsession of national identity among modernist artists of 1930-1950s prevented them to reflect aforementioned social content. Women painters of the two group in both aspects of quantity and professionality as painters were in a low position comparing their male fellows. In representing women there is nothing to be interpreted as a critical content according to women status in paintings of both groups. Instead male and female painters of both styles showed up to take an unconscious uncaring approach in conformation and reproduction of sexual paradigms. Although few paintings of this period indicates obvious alterations in women situation like unveiling of women, it cannot be seen a as a sign of a conscious action containing agency to change toward sexual equality.}, Keywords = {Modern Iran, Painting, Woman artists, Representation of Women, Agency, Women movement}, volume = {6}, Number = {25}, pages = {93-109}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1182-en.html}, eprint = {http://kimiahonar.ir/article-1-1182-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2018} }