@article{ author = {KhabbaziKenari, Mehdi and Sebti, Saf}, title = {Is the Handicraft Art? Search for finding the state of Handicraft among the arts, according Kant’s aesthetics}, abstract ={In Kant’ viewpoint, beauty is neither objective nor does it rely on concepts, but it is the subject that establishes the judgment of aesthetic in object of art. Kant believes that the feeling of pleasure in judgment of taste arises from reflective judgment of the subject of judgment. He argues that art is distinguished form nature, science and craft, and divides it into mechanical art, pleasant art and beautiful art. Pleasant art is a kind of art whose purpose is just pleasure, while the criteria of judgment in beautiful art is reflective judgment. The work of beautiful art is the product of author’s genius through form. From the perspective of ideas Kant divides fine arts into three kinds: art of speech, visual art (Including plastic art and painting) and art of the beautiful play of sensations. According to his description of certain use of the object as a condition that limits the aesthetical ideas, it seems that handicrafts are sub- architecture, and should be regarded as plastic art. But given the wide range of handicraft products, from mass production to unique objects with aesthetical features, and from useful to the decorative, they cannot all be equally judged as craft. This research seeks to analyze aesthetically the range of crafts based on the concepts explained in “Critique of Judgment”. This this way it distinguishes the field of art and non-art in the productions of handicraft and introduces areas of pleasant art and fine art in objects of handicraft. }, Keywords = {Kant, aesthetics, art, handicraft}, volume = {6}, Number = {22}, pages = {7-18}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-932-en.html}, eprint = {http://kimiahonar.ir/article-1-932-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Afarin, Farideh}, title = {Henri Maldiney: on Aesthetics & Rhythm}, abstract ={Henri Maldiney has applied two meanings to aesthetics. One is related to sensation, another is belong to theory of art and artistic aesthetic. In both definitions there is a common point, rhythm. Rhythm goes beyond the limits of its definition in music and painting. Also, it resolves the objective and subjective limitation in aesthetics. Rhythm is a kind of ontological term which bring together heterogenous parts. In this paper I elucidate the formation of rhythm and show the relationship between these two meanings of asthetics. The important concepts in Maldiney’s aesthetics include rhythm, space-time which is implicated in rhythm, existential crisis, chaos, genesis of rhythmic dimension and last but not least the motif. Two meanings of aesthetics are related together in the point of formation of aesthetics or rhythmic dimension in artistic work. Rhythm on the one hand is modulation of being/artist in different situations or possibilities of existence and on the other hand, is an operation which bring together the different Givens and parts in the surface of artistic works. Rhythm is grounded on aesthetic dimension. According to this, it’s possible to read Maldiney’s aesthetics post. kantian one.}, Keywords = {aesthetics, rhythm, existential crisis, sensation, creation, motif}, volume = {6}, Number = {22}, pages = {19-32}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-933-en.html}, eprint = {http://kimiahonar.ir/article-1-933-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Pourmand, Fateme and Mousavilar, Ashraf}, title = {Embodiment (Visualization) of Deconstruction: an analysis of deconstructive approaches in Surrealist Images of 20th Century}, abstract ={  Deconstruction and Surrealism, despite their different origins, are in accord on their criticism of deterministic approaches; both of them stand against reducing the infinite domain of meanings and interpretations to the determined and contrastive field of “binary oppositions”. Deconstruction challenges the structural contrastivism through its approach towards text and lingual structures, as surrealism does the same by altering the perceptive experiences and elevating the perceived reality. Given the aforementioned similarity in approach, the current research aims to use the reader-response theory to study the approaches of surrealistic art in 20th century (two-dimensional image) from the deconstructive viewpoint. The deconstructive analysis in this research is based on the reversed and disrupted relationship between oppositional components, and the “undecidability” of their final status. The research concludes that by disrupting the conventional relationship among contrastive concepts, wavering the certainties, and questioning the accepted convictions, surrealist images not only deconstruct the used visual system (abstract art and figurative art), but also “embody” (visualize) the deconstructive approach towards our conventional notions about reality.  }, Keywords = {deconstruction, surrealism, surrealist art, binary oppositions, undecidability}, volume = {6}, Number = {22}, pages = {33-47}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-934-en.html}, eprint = {http://kimiahonar.ir/article-1-934-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Bagheri, Fares}, title = {A Study On the Relationship Between “Self ” and “other” At the Early Stage of Modernism in Iran, In the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam}, abstract ={In this article, the question is about in what forms an Iranian character encounter - Consciously or unconsciously- with “self” and “other”, in the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam”? The “self” and “other” are metaphors which refer to the most important subject of modern Iranian literature. This relation involves a relationship. The relationship which creates a space so that social and communicative forms could appear and be reproduced as social characters as well as their different kinds of encounters – “self” and the “other”. Here, the focus is on concepts such as language and outfit as well as the metaphorical and semiotic system of “self” and “other”. This system will be examined within the interaction of characters and constitute the above discourse. Here by discourse, I mean a certain attitude and point of view in any historical period by which the Iranian “self” tends to experience something and it is the “other’s” experience constituted in the play. In this article, I attempt to show how the characters in the play as a kind of subjectivity and “self”, stand against subjectivity of “other”. }, Keywords = {Iranian play, Hassan moghadam ja’far khan az farang bargashteh, discourse, self, other}, volume = {6}, Number = {22}, pages = {49-60}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-935-en.html}, eprint = {http://kimiahonar.ir/article-1-935-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Fazl-Vaziri, Shohreh and Tondi, Ahm}, title = {An iconology approach to interpreting Laily and Majnoun in Ghiaseddin textiles}, abstract ={The reinstatement of iconography and iconology in the West has become important. In this article, we tried to find the reasons for choosing the topic of Laily and Majnoon in Ghiaseddin fabrics. For this purpose, using the iconographic and iconological theory, the inner meaning of this story is examined in the literature and culture dominant at the time of the emergence of the effect. This review is evaluated based. Three steps: description, analysis and interpretation. In the history of textile in Iran, especially during the Safavid period. The use of miniature textiles has been used extensive. In this research, a narrative of the literary story of the Nezamy, that was considered by Ghiaseddin, was used. He has chosen this narrative and woven it. }, Keywords = {Iconography, Iconology, Laily and Majnoun, Ghiaseddin, Safavid Textiles}, volume = {6}, Number = {22}, pages = {61-73}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-936-en.html}, eprint = {http://kimiahonar.ir/article-1-936-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Shajari, Morteza and Salkhikhasraghi, Safa and Asefi, Maziar}, title = {Perfection Movement of the Soul of Man in Mosque Space on the Basis of Mulla Sadra’s Views Case Study: Tabriz Blue Mosque}, abstract ={Traditional mosques in Islamic architecture are designed in a way that due to their characteristics of fluidity, gradually, get spectator to experience movement from lower levels to higher ones. So that levels of human evolution in Sadra’s wisdom are applicable to stages of motion in architecture. The purpose of this paper is to identify how motion in architectural space has impacts on the completion of its observer. The selected research method is interpretation which explores the relationship between drives of the fluid space with the Substantial Movement of human’s soul in the context of a perceptual experience by space observer. The findings point to the fact that the success of a work of architecture is when space is not neutral and affects its supervisor. When such a space encourages observer to move while gets the eyes, feet and mind of him out of his hand and this is clearly visible in Tabriz Blue Mosque}, Keywords = {substantia, movement, perfection of observer, space perceptual experience, space fluidity, Tabriz Blue Mosque}, volume = {6}, Number = {22}, pages = {75-88}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-937-en.html}, eprint = {http://kimiahonar.ir/article-1-937-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Amini, Mahdi and FanaeiEshkevari, Mohammad and Fathy, Abdollah}, title = {A Conceptual Analysis of Beauty According to Its Ontological Truth: Based on Mulla Sadra’s Views}, abstract ={In this paper I would discuss that if providing an essential definition of beauty is impossible then why and how we may describe various types of possible existences and God as beautiful. Drawing on the idea of “conceptual analysis” of Sheikh Ishraq and based on Mulla Sadra’s ontological views I would try to arrive at a different approach with which I will provide a general definition of beauty that includes both God and possible existences. Accordingly, while refuting the essential mode of beauty I would argue for an existential mode of it. I would further analyze and extract philosophical concepts from Mulla Sadra’s philosophical views to express the relation between being and beauty. I would conclude the paper by providing this definition of beauty: beauty, if based on a particular understanding of existence as univocity, is “the realization of the perfect existence in the form,” and if based on the personal unity of existence, it is “the mode of manifestation of perfections of absolute existence in the form.”}, Keywords = {beauty, manifestation, form, conceptual analysis, gradation}, volume = {6}, Number = {23}, pages = {7-23}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1092-en.html}, eprint = {http://kimiahonar.ir/article-1-1092-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {SalehiFarsani, Ali}, title = {Lyotard’s Aesthetic Confrontation with Political Modernity}, abstract ={This paper would evaluate this hypothesis that Lyotard, while admitting the subjugating aspects of political modernity, still sees the aesthetic transgression of its dysfunctions and shortages possible. To better proceed with such evaluation, I need first to find components in his thought that are in harmony with political modernity and then to compare such components with his aesthetic approach. Lyotard does not perspicuously speak about political modernity; therefore, I should commence the argumentative process of this article by developing a model in the framework of which I can better illuminate his  conception of the components of political modernity as well as his understanding of its shortcomings and subjugating aspects. This should be done by finding and sorting out of those components in his thought that are in harmony with political modernity. The hypothesis of this article is not tautological and is clearly against the prevailing interpretations that believe in the cultural transformation of aesthetics in the thought of Lyotard. Elaboration on Lyotard`s writings, along with the application of Lovejoy’s method of “history of ideas” in a conceptual framework that regards political modernity as the supremacy of right and self-determination to subjugation, leads us to the finding that Lyotard, believing in the supremacy of subjugation to right and self-determination in political modernity, is a critic of this situation. On the one hand, he regards political modernity and its extreme and totalitarian subjugation as an obstacle to the creation of avant-garde art, and on the other hand, he establishes a two-way correlation between this art and radical democracy, as an alternative to political modernity.}, Keywords = {avant-garde art, political modernity, subjugation instrumentalism, radical democracy}, volume = {6}, Number = {23}, pages = {25-39}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1093-en.html}, eprint = {http://kimiahonar.ir/article-1-1093-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Sami, Sepideh and MahmoodiBakhtiari, Behrooz}, title = {A Review of the Concept of the Subject and Self-destruction: A Case Study of “A Clockwork Orange” and “Apocalypse Now”}, abstract ={The significance of the concept of the subject and the belief in the superiority of human reason have been called into question during various historical periods. For example, in the late 1960s and 1970s in the United States with the advent of power relations and theories by such individuals as Michel Foucault, who reduced the central role of the subject in the interest of discourse, we observe the rise of civil movements that call for the freedom of minorities and the elimination of powerbased relations. At the same time, the cinema also witnessed the production of films criticizing the violent consequences of structures, including the violent effects of cinema itself on the elimination of the concept of the subject. In this paper, we explore the reaction of the subject to this structural violence in two American films of the 1970s, “A Clockwork Orange” (1971) and “Apocalypse Now” (1979), using a descriptive-analytical method. The hypothesis that the self-destruction of the main characters of both films is a reaction intended to regain the concept of the subject and its effective and central power is confirmed as a result of this research.}, Keywords = {self-destruction, foucault’s subject, cinematic structure, “A Clockwork Orange”, Apocalypse Now”}, volume = {6}, Number = {23}, pages = {41-56}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1094-en.html}, eprint = {http://kimiahonar.ir/article-1-1094-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Golestani, Mojtab}, title = {Reading Michel Foucault’s Theory on Death and Function of Author and its Relation to Plagiarism}, abstract ={This essay deals with a question concerning the relation between plagiarism and the author function in the discourse of literature. Author function is a term used by French philosopher, Michel Foucault (1926-1984) to analyze the notion of author and its formation within the discourse of literature. This paper would consider plagiarism according to the author function, maintaining this assumption that a discourse named literature belongs to modern age and is formed in the framework of modernity. Plagiarism, in this sense, is an economic category and we can study archaeology of plagiarism and its relation to ownership of property. As a result, whenever there is ownership it is meaningful to be plagiarized. Therefore, we investigate notions of plagiarism, discourse of literature and author function respectively in order to study archaeology of the function of plagiarism as an economic metaphor within episteme of modernity, regardless to any value judgment.}, Keywords = {plagiarism, author, discourse of Literature, ownership of property, modernity}, volume = {6}, Number = {23}, pages = {57-68}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1095-en.html}, eprint = {http://kimiahonar.ir/article-1-1095-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Jahangard, Ali Akbar}, title = {Supremacy of the Subject in the Renaissance Perspective System and the Reaction of Cubism Painting to it}, abstract ={In many cases, the invented perspective of Renaissance and its related texts from the era could be read as a claim on representing reality. Yet, they can also be considered as a unitying system in the realm of the image which is more in favor with subjective characteristics. According to the available evidences, it seems that the Renaissance perspective is not only a reflection of objective reality, but also it is incompatible with human vision. If one considers Renaissance perspective a subjective system as Kant and Panofsky did, then perspective would be a showing of the unquestioning supremacy of the subject in the realm of the image. Hence, the claim of the realism of Cubist painters would be in favor with a kind of objectivity, which criticizes the domination of the subject. The most important proof in this regard is deletion of the subject’s perspective from Cubism painting.}, Keywords = {perspective, subjectivity, objectivity, cubism painting}, volume = {6}, Number = {23}, pages = {69-84}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1096-en.html}, eprint = {http://kimiahonar.ir/article-1-1096-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Rahbarnia, Zahra and Keshmiri, Maryam}, title = {A Postmodernist Reading of Art Works Based on Fredric Jameson’s Ideas: Focusing on Parviz Tanavoli’s Hich Collection (1960s-2000s)}, abstract ={As a theorist of postmodern art, Fredrik Jameson believes that historicism in modern works of art is a tendency towards history: a tendency that undermines history as well. Jameson has a different attitude towards the function of the historical object in the context of the worka of art. He shed a new light on reading the new works of art by emphasizing an ironic function in postmodern productions. It seems that the same approach can be used to read Iranian neo-traditional works. The research in hand has focused on Tanavoli’s Hich collection due to its general appreciation by the audience in last decades and tries to provide an answer to the following question: can the approach in hand, alongside the formalistic and semantic interpretations (which are not adequate enough) lead to a new understanding of these works? Is this popularity indebted to a relation between the form of the work and its historical associations? This research aims to examine Jameson’s ideas in reading Tanavoli’s works as well as finding new layers of meaning in these works. Using history as a consumable object and its nostalgic representations are the reasons behind appreciation of Hich collection. Therefore, the formalistic and semantic interpretations become less important. Other postmodern aspects of Tanavoli’s works can be realized based on Jameson’s ideas as well.}, Keywords = {Fredric Jameson, Parviz Tanavoli’s Hich collection, postmodern art, Iran’s contemporary art, historicism}, volume = {6}, Number = {23}, pages = {85-98}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1097-en.html}, eprint = {http://kimiahonar.ir/article-1-1097-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Khosravi, Mohammad Hossein and Olia, Masou}, title = {Paul Ricoeur’s Reading Of Mimesis}, abstract ={This essay tries to discuss and analyse Paul Ricoeur’s reading of mimesis, which is among the most important and most discussed concepts in the history of philosophy of art, and to show how, beginning with Aristotelian concept of mimesis and attending to its associate concepts, i.e. mythos and praxis, he expands its field of significance and puts it in a reciprocal and enriching relation with the concepts of time and narrative and gives new meanings to the act of narration. Accordingly, it will be shown that Ricoeur’s work on the narrative can provide a new way to think this relation in the light of  phenomenology and hermeneutics. This essay, based on the descriptiveanalytical method, is divided in two parts. In the first part, the significant elements of the conceptual network which forms the context of Ricoeur’s discussion of mimesis, namely Aristotelian mimesis, narrative understanding and Augustinian notion of time, are considered and analysed, and in the second part, what Ricoeur means by mimesis and its threefold moments, mimesis1, mimesis2 and mimesis3, is elaborated. It will be shown that these three moments of mimesis are correspondent to threefold concepts of prefiguration, configuration and refiguration, and Ricoeur’s conception of mimesis can give new significations to the Aristotelian concept of mimesis and phenomenological concepts of time, temporality and act by linking them.}, Keywords = {mimesis, act, praxis, poiesis, emplotment, narrative, mythos, time}, volume = {6}, Number = {24}, pages = {7-21}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1129-en.html}, eprint = {http://kimiahonar.ir/article-1-1129-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Heidari, Majid and Rikhtegaran, MohammadRez}, title = {The Meaning of “Artistic Creation” for Kant and Heidegger and its Comparison with Ricoeur’s Understanding of “Narration”}, abstract ={Artistic creation is normally understood as subjective work of a genius; consequently an independentholy creation. Such an understanding is mainly due to Kant’s conception of aesthetic experience. In his point of view, artistic creation is equal to “synthesis” of productive imagination. Perceptions of intuition are schematized and synthesized by imagination to be categorized in understanding. Heideggerian conception of artistic creation is related to cultural (lifestyle) functions of art. In fact, artistic creation means manifesting, articulating, and reconfiguring lifestyle. Ricoeur equals creation with innovation in meaning that happens in two main ways: metaphor and narrative. Metaphor establishes new connections between ideas or things and through these new associations redefines the world. In seemingly the same process, emplotment (in the same action as Kant’s synthesis) gives order to set of actions or events in a specific causal relations and specific temporality in order to make a whole which is called story. Ricoeur believes that configurational mode of thinking is one of the main modes of conception that is responsible for gathering together or configuring actions or events. Therefore, story is not only an artistic genre but it is a mode of thinking that is related to artistic creation. Reviewing Kant and Heidegger on artistic creation and comparing their approach with Ricoeur we come to the conclusion that the latter’s theory of artistic creation seems to be more comprehensive, connecting the artistic creation with narrative.}, Keywords = {artistic creation, synthesis, configuration, narrative, narrative thinking}, volume = {6}, Number = {24}, pages = {23-33}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1130-en.html}, eprint = {http://kimiahonar.ir/article-1-1130-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Qadernezhad, Mehdi and Piravivanak, Marzieh and Tahery, Sadreddi}, title = {The Comodified Aspect of Autonomy of Art Work in Adorno’s Aesthetic}, abstract ={The problem of Autonomy of art in Adorno’s aesthetic is one of the most valuable and impressive subjects in contemporary aesthetic. On the one hand, Adorno uses “monad” metaphor (in Leibnizian meaning) for describing autonomous art work, and, on the other hand, he introduces art work as an absolute commodity. This study wants to answer this question: according to Adorno’s idea, how autonomous art works are to be realized under the condions where commodified relation are dominated? Understanding this subject is dependent on conceiving the theoretical basis of Adorno’s philosophy and especially his negative dialectic theory. In the first part of this study I would try to prove the necessity of Adorno’s dialecticalhistorical defense of autonomy of art with a short explanation of his non- identical thinking approach and negative dialectic theory, as a basis of his philosophy. In the second part, while explaining the aspect of political economy in the theory of negative dialectic and by elucidating the dominant commodified logic in art, I would try to clarify that the art work reveals the absolute commodity to be an aspect of autonomy.}, Keywords = {adorno’s aesthetic, art work, autonomy,political economy, commodification,absolute commodity}, volume = {6}, Number = {24}, pages = {35-46}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1131-en.html}, eprint = {http://kimiahonar.ir/article-1-1131-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Rajabi, Ehs}, title = {A Study on the Evolution of Aesthetic Ideas in Four Treatises of Islamic Practical Wisdom}, abstract ={Practical wisdom is one of the neglected fields in studying the theoric principles of Islamic art. One of the basic topics of practical wisdom which can be a basis for discussing about aesthetics and craftsmanship, is human practice and its realtion with “justice” or in other words “equilibrium”. In early treatises of practical wisdom such as Tahḏib al-aḵlāq wa-taṭhir al-arāq written by Abū Alī Meskawayh, equilibrium is the pivot point of ethical discussions. In Aḵlāq-e Nāṣerī written by Ḵhāja Naṣīr-al-dīn Ṭūsī, equilibrium gradually implies some aesthetic aspects and becomes equivalent to concepts like unity, beauty and proportion. Davānī’s reflection on aesthetics in Aḵlāq-e Jalālī, consolidates his former discussions. Jāme’ al-sa’ādāt written by Mollā Mohammad-e Narāqī, is one of the last important treatises that confirms previous aesthetic ideas with a more religious approach. Reflecting on this intellectual process, a kind of aesthetic theory can be recognized which is based on equilibrium and states that there is a common meaning which is called equilibrium of humors when it appears through four elements, harmonic melodies when it appears in musical notes, rhetoric when it appears in combination of words, beauty when it appears in members of a body and justice when it appears in human morality.}, Keywords = {practical, wisdom, ethics, aethetics, islamic art, equilibrium, justice}, volume = {6}, Number = {24}, pages = {47-58}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1132-en.html}, eprint = {http://kimiahonar.ir/article-1-1132-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {Akhoundi, Zahra and Afhami, Rez}, title = {John Cage and Catharsis in the Light of an Artistic Experience}, abstract ={Catharsis is construed as the moral affair in Aristotle’s thought, the emotionalsomatic discharge and cognitive awareness in Brecht’s theater and the informative conflict around the life experience in Vygotsky’s writing. John Cage, a prominent musician in the 20th century, also considers the core of his artistic thought to be the creation of a challenge for the audience’s perception in terms of the identification of musical experiences and performances. This paper aims to investigate the existence and concept of the cathartic experience in Cage’s works, and concerning this, employs a chronological and descriptive-analytical method and relies on library resources. The findings indicate three stages of changes in his thought, from distancing to motivating audience for intervention and finally, influenced by Zen, promoting the audience to the artist’s position as his own special method. In this way, Cage makes Catharsis as audience’s permanent experience in life.}, Keywords = {catharsis, John Cage, contemporary art, artistic experience, performance}, volume = {6}, Number = {24}, pages = {59-74}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1133-en.html}, eprint = {http://kimiahonar.ir/article-1-1133-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @article{ author = {RoshaniPayan, Mil}, title = {Studying the Effects of Tragedy in Moral and Cognitive Judgments According to David Hume}, abstract ={David Hume, the Scottish empiricist, wrote a very short essay called “Of Tragedy”. It is always treated as an important text when discussing Hume’s view on tragedy. Hume begins the essay with the following question: why is it that tragedy is pleasurable, in spite of the painful passions it causes? Hume focuses on tragedy and its relationship with passions. So far Hume’s view on this relationship has been formulated in many different ways, one of which is Hume’s conversion theory. According to this theory, painful passions are turned into pleasurable ones using stylistic and formal rhetorical means. This view has been constantly proved, disproved, edited and changed by either its supporters or its critics. However, in most cases, the supporters or the critics agree that tragedy induces pleasure using poetic or rhetoricalstylistic means. This view goes on to argue that all the functions and effects of tragedy should be reduced to functions and effects of taste and aesthetic, focusing on the production of pleasure. This paper tries to explore other effects of tragedy according to Hume. First I would analyze and explore the ignored parts of the “Of Tragedy” essay, then I look into Hume’s thoughts on tragedy, scattered over other Humean texts and finally, I would situate Hume’s essay in the broader context of Hume’s philosophy to compare his other philosophical ideas with those focusing on tragedy. This way we can analyze other effects of tragedy according to Hume, especially its effects in the domain of cognition and mortality, and also find a way to reconsider Hume’s conversion theory.}, Keywords = {tragedy, David Hume, passion, impression , Hume’s conversion theory, belief, judgment}, volume = {6}, Number = {24}, pages = {75-86}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-1134-en.html}, eprint = {http://kimiahonar.ir/article-1-1134-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2017} } @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} }