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Showing 8 results for Nasri
Amir Nasri,
Volume 1, Issue 1 (1-2012)
Abstract
Comparing to the Greek and Latin Fathers of the Church, in the aesthetic tradition of medieval centuries there is no standpoint about beauty more systematic than what is found in Pseudo-Dionysius’s works. He draws upon neo-Platonic philosophers’ thoughts, especially those of Proclus, for expressing his ideas. Like neo-Platonic philosophers, he believes in the metaphysical status of beauty. Accordingly, he begins his discussion with imperceptible issues, rather than perceptible ones, and then speaks of the emanation of perceptible beauty from pure beauty. Moreover, and contrary to the empirical tradition of the Greek in which the issue of beauty is located in an experimental realm, he situates the beauty in a meditative context hence the beauty finds a mystical and secret aspect. Furthermore, he argues for the concept of light in aesthetics and adds the criterion of clarity to the conditions of beauty. These views of Dionysius have affected both Western and Eastern Christian aesthetics. In Latin tradition he was a source of influence for Eriugena, Hugh of Saint-Victor, Suger of Saint-Denis and Thomas Aquinas in Byzantine tradition the proponents of icons made utmost use of his works in such a way that his works were the second point of reference after the Bible.
Amir Nasri,
Volume 2, Issue 6 (5-2013)
Abstract
Iconography and iconology are among the approaches
for studying image. Though dated back
to renaissance era, this approach as a compiled and
systematic way for examining image begins in the
dawn of twentieth century and in Warburg School.
Erwin Panofsky is the well-known figure of Warburg
School and his methodical study is intertwined
with titles of iconology and iconography.
In this article, the history of icon and iconographical
studies are examined and then the difference
between iconology and iconography is discussed.
Then, Panofsky’s opinions about reading image
and the three phases of this sort of reading are
discussed in accordance to his views. Panofsky
calls these three phases as “pre-iconographical description”,
“iconographical analysis”, and “iconological
interpretation”. These three levels are explained
separately and the article concludes with
some criticisms to Panofsky’s opinions.
Amir Nasri,
Volume 3, Issue 10 (4-2014)
Abstract
Hans Belting’s thesis of image anthropology
(Bild-Anthropologie) for the analysis
of image characteristics has its roots
in the tradition of philosophical anthropology.
He holds that in the analysis of every
image the trinary components of medium,
body and image together must be taken
into consideration, and these components
are thus inseparable. Belting’s definition
of each of these components also differs
from the traditional view, such that he
doesn’t regard the medium as merely the
mediator for the image, rather each image’s
existence is dependent on a medium.
Also, the body (Körper) can play multiple
roles, as the medium of the image, the image
itself, or the recipient of the image. He
believes that every image is a substitutionary
body for an absence hence the idea of
loss or death can in a way be regarded as
the origin of the image. Belting’s view as
to image anthropology gives rise to a new
iconology, the aim of which is the analysis
of images on the grounds of their own
logic, rather than analyzing them on the
basis of written texts.
Amir Nasri,
Volume 4, Issue 17 (12-2015)
Abstract
Since the Bible is regarded as the most important source of Christian iconography and iconography in return is the visual interpretation of the Bible, the relationship between Christian iconography and biblical interpretation is noteworthy. In some cases this relationship is such that the visual representation is actively involved in the interpretation of the biblical text and is not a mere passive illustration of the text. In order to better understand the different periods of Christian iconography, it is also important to consider the biblical interpretive methods. This article, first summarily introduces the two important schools of Antioch and Alexandria; and then moves on to show the reflections of the teachings of these two schools on early Christian art, with which it was contemporary. Attempts will then be made to show this relation in the different examples of the iconography of this era, and to compare it with that of the later periods.
Amir Nasri, Bahareh Saeedzadeh,
Volume 7, Issue 29 (3-2019)
Abstract
The 1979 religious ideological revolution of Iran brought about a double stance towards the body and its pictorial representations, as to drawing a schism between the physiological and the cultural aspects of the body. Studying this schism is important particularly due to its significance in figuring out the features and functions of what in this article will be called “the ideological body”. Based on Hans Belting’s image trilogy and his concept of the “medium” in it, the present paper aims to investigate the schism between the natural and the cultural body as observable in the ideological body in the context of the Iranian contemporary visual culture. It is shown that this schism appears to be emanating from a dual behavior of pictorial mediality (as introduced by Belting), where the two bipolar limits of the mediality continuum herewithin called the “exogenous” vs. “endogenous” mediality come into a conflict. Through this conflict, the cultural [aspect of the] body which in pictorial terms will be defined to be chiefly the creation of exogenous mediality (i. e., the Shiite ideology’s image-making apparatus) receives glorified representations at the cost of the denial and negation or “(non-)presentation” of the physiological [aspect of the] body produced mainly by the endogenous mediality (i. e., the immediate imaging of a “self”/ an individual without the intrusion of any “other”). This schismatic bodily glorification through negation in the post-revolutionary Iranian visual culture is shown to be the most fundamental definitive characteristic of “the ideological body” the features and functions of which will be investigated in this paper in view of the paintings of the School of Islamic Art and Thought (Hozeh Honari (1979-1992)).
Nasrin Esmaeili, Ali Moradkhani,
Volume 9, Issue 36 (11-2020)
Abstract
One of the most important contemporary theoretical approaches that can be used to analyze works of art is the theories of Jacques Lacan (1901-1980), a French post-structuralist psychoanalyst. By combining psychoanalysis, philosophy, linguistics, and anthropology, he analyzes the world of the human subject’s mind in a series of intertwined and extensive cultural and social relationships.This article aims to take a look at the painting-from-phtographs of the Gerhard Richter Foundation as a unique collection of contemporary artists from a psychoanalytic point of view; And to ask the question, what is the relationship between truth and appearance in Richter’s painting and Lacanian psychoanalysis? Also, how Lacan’s psychoanalytic concepts are found to be helpful in the critique of Richter’s painting?
The method used is descriptive-analytical and based on data and information using library and Internet resources, based on the observation of Richter artifacts and their analysis with Lacan’s psychoanalytic approach. This article shows that Lacanian concepts can be generalized to Richter’s paintings.
There is no definitive truth and reality is perceived through the eyes and the organized system according to past experiences, the lack and desire of the subject.
All of our reference points, everything we talk about and whatever we do through them, are all not absolute truth but stereotypes.
Seyyed Mostafa Mokhtabad Amreyi, Nasrin Seyed Abolghasem Khan,
Volume 10, Issue 40 (12-2021)
Abstract
Alchemymical “Characterization” and “personality” are the cornerstones of drama; many apply in both playwriting and play criticism and analysis. Especially in game genres that deal with deeper concepts of the characters’ personality aspects. Studies of the status of “personality” from both the theatrical and psychological perspectives lead to a better understanding of the executive factors as well as the theoretical domains of dramatic works. By recognizing the mental-physical characteristics of the characters such as interest, hatred, physical and sensory tics, as well as their thoughts and behaviors, brilliant results were obtained that will strengthen the performance and analysis of the games. Schools and styles such as Jerzy Grotowski’s “Silent Theatre”, Meyer Hold’s “Biomechanical Theatre” and Eugene Barba’s practice unleash the abilities of the human body as it tries to make sense of and harness knowledge of anatomy, the respiratory system, and even sports such as yoga. Recognition of human personality is not limited to the use of acting power and includes areas such as playwriting and play analysis. This research tries to use the knowledge of “temperament” as a branch of traditional or ancient medicine and to present a new method to the research subject. The provision of patterns for the classification of dramatic characters has provided a temperamental capability that can be used as a method in a variety of fields, including the characterization of dramatic works. This research was carried out with the descriptive-analytical method and the play of Martin McDonagh’s The Beauty queen of Leenane nin was used as the study sample of this research.
Nasrin Esmaeil, Ali Moradkhani, Amir Nasri,
Volume 12, Issue 46 (5-2023)
Abstract
In the present article, the application of Lacanian meanings in the field of philosophical thought and their comparison with examples of contemporary art has been studied. In this context, theories such as "split subject", "gaze", "Other" and "desire" are applied to the works of visual artist Marlene Dumas. In fact, this research seeks to answer the question of how the philosophical concepts of Lacan thought are reflected in works of art, especially paintings? And can the representation of the status of the contemporary subject in art be explained by Lacanian psychoanalysis ?In order to answer the questions of this research, we first propose psychoanalytic theories about the human subject based on Lacan's views in this field and then adapt them to Duma's portrait paintings. This approach will be in the process of analyzing and interpreting the works as a mainstay against which the paradigm of time in art is evaluated.
The research method in this article is descriptive-analytical and the data are analyzed inductively using written and library sources. Based on the research findings, it will be determined that the contemporary subject is a split subject with lacking, doubting, being prepared and divided.
And by following contemporary works of art, this can be find by reading works of art with Lacanian thought, a new way can be opened to understand the contemporary subject, especially in art.
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