Associate Professor, Faculty of Architecture. University College of Fine Arts. University of Tehran
Abstract: (8446 Views)
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.
Islami S G, Pouya R. Topographic - based Model of the Creative Art through Revolutionary Culture in Iran. کیمیای هنر 2014; 3 (11) :48-57 URL: http://kimiahonar.ir/article-1-253-en.html