Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
The musical language Elements of Persian musical language: modes, rhythm and syntax
5
35
EN
Dariush
Talai
Assistant professor University of Tehran
In treating the subject of musical language, a Persian musician would be intrinsically
drawn to the structural similarities between the Persian music and language. Indeed
Persian music and language are extremely related in their metrics, intonations and
structural phrases (syntax). Although we will draw upon this relationship, our aim in this
article is to present “music as a language,” consisting of acoustic, melodic, and rhythmic,
elements, which together create a musical expression or a “musical language.” Persian music is a modal music. It applies a multi-modal system called the dastgâh
which presents a macro form for a performance. This form refers to melodic models, each
called a gushe, along with rhythmic compositions, including pishdarâmad, charmezrâb,
tasnif, and reng. Basically Persian music has been preserved and transmitted through
a collection of melodies. These canonical melodies, which serve as models for all
compositions and improvisations are organized into a body of music referred to as the
radif, including seven dastgâhs and their derivatives.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
The Philosophy and Functions of Verbal Violence in Harold Pinter’s Mountain Language: A CDA Approach
36
47
EN
Behrooz
Bakhtiari-Mahmoodi
Associate Professor, University of Tehran
Mahsa
Manavi
M. A. Graduate of English literature, Kharzmi University, Tehran.
The present study considers the issue of verbal violence in the language of drama. In
the evaluation of verbal violence, Jeanette Malkin (2004) proposes six maxims, through
which language may be considered as an arrogant element. The characters in dramatic
texts (as in other literary texts) are created, developed, evolved and - in some cases -
destroyed by language. In a considerable number of modern plays, language acts as an
antagonist who is to destruct and demolish the personality of the other(s) in the play
with violence and aggression so, the theoretical study of dramatic verbal violence as a
component of dramatic discourse is considered indispensible to critical discourse analysis
of dramatic texts and the study of power relations as reflected in the dialogues. Focusing
on the patterns of dramatic verbal violence introduced by Malkin, this study aims to
discuss the dominant patterns of verbal violence in Mountain Language, a play by Harold
Pinter, and investigates the role of language in shaping, and destroying of human identities
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
Topographic - based Model of the Creative Art through Revolutionary Culture in Iran
48
57
EN
Seyed Gholamreza
Islami
Associate Professor, Faculty of Architecture. University College of Fine Arts. University of Tehran
Rofouei
Pouya
Post-graduate Student of ‘Supreme Art Studies’. University College of Fine Arts. University of Tehran
If we accept this idea that in talking about art, there is a chasm between thought and unthought debating
on art theory in the sociohistorical context of after revolutionary Iran requires at least two items in which
understanding and creating art meet one another: 1) Art as door separates intelligible from sensible, rational
from irrational, and logos from pathos as well and 2) Art as bridge not only joins together the sense and
mind, but also folds and concocts these two areas of human being life. Doors divide lands into ostensibly
independent parts. By doors we can recognize ‘out’ and ‘in’. But the bridges links the land with another
land in spite of the geographical limitations like water, rocks, etc. According to door metaphor, art makes
a borderline between thought and unthought. Artists begin their activities based upon unconsciousness
the social and political status quo have effect on them indirectly. Reversely, the bridge metaphor refers to
unthinking thought and thinking unthought aspects of art creating. Thus, changing the frame of reference
polarizes the entire art issue. After revolution, these two dimensions of art have been amalgamated in a
concept named: ‘culture’.Simultaneously, culture has partially covered the variety of art activities and necessarily constituted an
identity-centered front against the others’ cultures. In the nation-state, art supports the idea of unity. Out
of the nation-state, art initiates itself as the particular characteristic of our own culture among the other
cultures. Apparently, the ambivalent usage of the culture culminates the polarization between creating and
understanding art. Argumentatively, this paper attempts to deduce a model of theoretical basis by using
contemporary aesthetic achievements toward reconciliation the conceptual thought with perceptual art
creatively.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
Epiphany of Scribing the Holy Quran from the Dawn of Islam Leading to the Manifestation of Calligraphy and Decoration in Islamic Sacred Art
58
71
EN
Seyed Kamal
Haj Seyed Javadi
The Sacred Art of Islam has undoubtedly been born with the calligraphy of the Holy Quran.
Afterwards, it was completed and evolved with decorating of this magnificent manifest. This
process has had great effects on all fields of Islamic Art. In this research, the writer has discussed
about the procedure of scribing the Holy Quran in the life time of the Holy Prophet (p.b.u.h) as
well as the time of Uthman’s caliphate. Mus’hef of Imam has also been pointed out. It has been
confirmed that at the time of the Holy Prophet (p.b.u.h), the scribers wrote the Holy Quran in
a special manner known as Mekky or Madani or Hejazi style. In this essay a few pages of the
two remaining manuscripts of the Holy Quran scribed by this style, have been talked about. By
analyzing the styles of scribing these two copies, it is pointed out that the words and letters have
been arranged and collected in a beautiful order regarding the symmetrical, harmony and balance
of the shapes and sizes.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
Architecture, Land, and Man Rereading, reviewing and criticism of Pirnia’s suggested principles for Iranian architecture
72
99
EN
Mehrdad
Qayyoomi Bidhendi
Mohammad Mahdi
Abdollahzadeh
Mohammad-Karim Pirnia, one of the most prominent scholars of the history of Iranian
architecture, has recorded two major achievements: the principles of Iranian architecture and
the stylistics of Iranian architecture. In this article we will discuss his suggested principles for
Iranian architecture. For this purpose, we will first show how his five principles have evolved and
completed through time. Then we will refer to his words about each of the principles we have
gathered from the original source but widely spread and will present them in an integrated and
coherent form. In another section of the article, we will deliberate upon the entirety of these principles and
evaluate their worthiness in characterizing Iranian architecture. We will strive to study and review
Pirnia’s motivations for proposing them, their underlying assumptions, and their tacit implications.
In the end we will show that the current order and content of these principles have both internal
and external dimensions whose appearance was necessitated by his time. One may argue that
such principles are no longer suitable or credible for contemporary Iranian architecture. However
reviewing the internal dimension of these principles is a valuable element for identifying and
understanding the Iranian architecture in the context of the Iranian culture. In this case, we will be
able to reread Pirnia’s principles and use them to serve as vehicle for improvement of research on
the history of Iranian architecture and its development.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
EPISTEMOLOGICAL CONSIDERATIONS IN THE CONCEPT OF “EAST” AND “WEST” (WITH REFERENCE TO PRINCIPLES THAT FORM CULTURE)
100
109
EN
Saeed
Haghir
S. Yahya
Islami
Do the words “East” and “West” mean more than just geographical orientations or areas? This
seems to be a simple question, which cannot be answered easily.The difficulty in answering such a question seems to be rooted in questions that deal with
universal concepts. Defining such universal concepts, which seems quite simple, is very difficult
indeed - perhaps even impossible in some cases. “East” and “West” are among such concepts,
and of course are bonded to even more complex concepts such as “culture” and “civilization” in
general. This paper attempts to analyse the concept of “East” and “West” at an epistemological and a
philosophical level, using an inductive and a descriptive methodology. It aims to describe how the
concepts of “East” and “West” are in fact indicative of two different approaches to nature, before
being descriptive of a particular geographical area or location.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
Standardisation and the Question of Identity: On The Dominant Discourses on Contemporary Iranian Art
110
127
EN
Hamid
Keshmirshekan
This article deals with the discourse of cultural globalisation and related issues such as the
global market and cultural industry, which emerged as recent seminal factors within the context
of Iranian culture, art and artistic practice during the recent history of Iran. Moreover, it seeks
to explore the inevitable issues drawn from the process of globalisation, namely the forces of
standardisation, question of identity, i.e. local, historical, imaginative and collective identity,
which were followed by artistic production and thereafter other consequences and critical
discussions, located differently by generations in the contemporary Iranian art scene. Accordingly
the treatment of the subject is thematic rather than historical or chronological. Examining visual
culture in post-revolutionary Iran, with particular emphasis on the recent developments—from
the late 1980s onwards—this article then attempts to deal with the works of artists who are likely
to involve some account of the historical specificity of their context, as well as an exploration of
the ways in which the artists’ focal beliefs about national identity, social relations and cultural
essentialism find expression in their work. It will then address how an intellectual and aesthetic
change that is also intended to initiate a contribution to global culture becomes almost a desire
for the new generation. It will examine the role of the new developments in the art market in
the transformation of aesthetics and expectation. It seeks to show the sometimes contradictory
relationship between international markets and local expectations and domestic forces opposed
to globalisation. It will address questions such as how the locality of artists has been established,
and how an effect of the globalisation process and globalising forces can directly influence the
representation of such a locality in their art.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
The Moment of Environmental Ethics the Moment of Drift?
128
147
EN
Seyed Hossein (Iradj)
Moeini
The question of whether architectural creativity is more of an artistic or engineering nature
is one with a long history but also one with no conclusive answer. The art camp would argue
that technology should be treated as a means towards and end, and that technology alone cannot
give meaning to our lives. The engineering camp on the other hand would argue that good
problem-solving results in better ways of living our everyday lives, and that this in turn brings
about a beauty of its own which is beyond that offered by conventional aesthetics of beautiful
objects. This dichotomy, among other things, epitomises the inconsistent relationship between
architectural design value systems and those of other arts for although they share certain concepts
about beauty and the role of each discipline’s creative products in enhancing their audiences’ and
users’ lives, the influence of other ‘outside’ disciplines on architecture and other more applied arts
can have an effect on diverting their value systems. Put differently, architectural value systems do
not consistently parallel those of other arts. This paper looks at some key moments in modern architectural history to show the degree
to which architectural value systems share—or otherwise—the values of the other arts and then
extend the survey to the present-day emergence of environmental ethics in architecture. It argues
that the factual, non-ideological sound of environmental ethics may be promising, but it also
signals the arrival of another period of drifting architectural and artistic value systems: one in
which, perhaps not for the first time, the ethical is not invested in any kind of semantics and
aesthetics of the product itself, but in the processes of its formation and, importantly, in the lifeenhancing
possibilities of the work.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
11
2014
9
1
Cognitive Character Engagement and the Extended Mind in Bahram Tavakkoli’s Wandering in the Fog
148
175
EN
Bahareh
Saeedzadeh
The present study has a cognitive approach to empathy and character engagement in cinema. In
discussing how through empathy and engagement with real and fictional characters, we extend
our minds and enhance our cognitive abilities, the present paper studies Bahram Tavakkoli’s
Wandering in the Fog (2010), to show how Andy Clark and David Chalmers’s idea of the extended
mind as joined with Murray Smith’s tripartite model of cognitive character engagement is at work,
both in real life and in film, about how we align with and empathize with other people and things
in the world and extend our minds. Tavakkoli’s film is thus analyzed cognitively to describe how
we try to extend ourselves by engaging with our environments and other agents, real or fictional.
Attempts will therefore be made to discover by studying this film as a miniature model to describe
the way extended cognition can build through active externalism.