@article{ author = {Gonzalez, Valerie}, title = {“Contesting the Conceptual Categories ‘Islamic Civilization, Art or Masterpiece: A Reflection on the Problem”}, abstract ={Together with a few recent publications a number of the online Journal of Art Historiography (June 6, 2012) dedicated to “Islamic Art Historiography” offers a glimpse at the debates that since roughly a decade stir up Islamic art studies as they are practiced in the West. These debates concern the conceptual framework used to both investigate and show in public institutions the material dealt with in this field of research, traditionally designated by the attributive adjective “Islamic”. Many consider the latter a misnomer. The underlying objection is that any cultural instance generically labeled with this adjective constitutes a fallacious category that does not reflect much more complex realities. Yet, the contested word remains widely used in spite of the invention of an alternative, the term “Islamicate”. This paper examines this phenomenon of epistemological agitation symptomatic of the rather newly constructed field of Islamic art history. The analysis of the 10th century epigraphic wares produced under the patronage of the Iranian dynasty of the Samanids will support the argumentation.}, Keywords = {Islamic culture, art, art history, epistemology, methodology, concepts of Islamic art studies}, volume = {4}, Number = {17}, pages = {4-14}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-592-en.html}, eprint = {http://kimiahonar.ir/article-1-592-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Emadi, Azadeh}, title = {16th century Persian tiles in dialogue with 21st century digital tiles in the Sadrian universe}, abstract ={This article brings together tiles of 16th century Persian architecture and 21st century digital tiles of moving image to explore new potentials beyond the perceived image. As minimal parts of a bigger image, they both appear still and motionless. However, Persian Islamic philosopher, Mulla Sadrā Shirazi’s (1571-1640) theory of ‘substantial motion’ (al-harakat al-jawhariyya) argues that, at the level of substance, an invisible internal motion and change takes place. Due to this internal change, aspects of the Divine Being constantly manifest in the existence of entities. Sadrā’s unique view on existence suggests that all living and non-living entities, as manifestations of the Divine Being, have certain experiences of the universe. To think that an image, a tile, or a pixel, as an existing entity, has certain experiences can unfold new avenues for creative thinking/making in digital moving image that can reveal what is hidden from human perception.}, Keywords = {Digital video, Islamic philosophy, Mulla Sadrā Shirazi, Persian-Islamic art, tiles, pixels, Gilles Deleuze}, volume = {4}, Number = {17}, pages = {16-31}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-593-en.html}, eprint = {http://kimiahonar.ir/article-1-593-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Abolghassemi, Mohammadrez}, title = {Critical Remarks on “Mystical Aesthetics” The Case of Persian Painting}, abstract ={There are several texts pertaining to Perisian painting which explain its aesthetics on the basis of mysticism and the notion of imaginal world. This point of view bears some methodological problems. Some of the prominent scholars (Corbin, Burckhardt, Nasr, Ringgenberg et al.) refering to Ibn ‘Arabi’s mystical notions, have tried to show that the specific aesthetics of Persian painting has been derived from the imaginal world. Our aim here is to show that establishing the aesthetics of Persian painting on the basis of imaginal world’s metaphysics lacks seriously the theoretical and methodological rigour. Firstly, Ibn ‘Arabi and his heirs’ conception of imaginal world was first of all ontological (hierarchy of Being) and epistemological (knowledge of God). Secondly, there is no overwhelming proof which could demonstrate that Persian painters were initiated to this notion. Thirdly, achieving the imaginal world through mystical intuition is conditioned by asceticism and purifying rituals, which were not necessarily familiar to Persian painters almost working in the court of Sultans. We will try to show that considereing these paintings in themselves is the genuine way to establish their aesthetics principles.}, Keywords = {Persian painting, mysticism, imaginal world, visual space}, volume = {4}, Number = {17}, pages = {32-43}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-594-en.html}, eprint = {http://kimiahonar.ir/article-1-594-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Nasri, Amir}, title = {Christian Iconography and Biblical Interpretation}, 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.}, Keywords = {Iconography, Interpretation, Antioch School, Alexandrian School, Bible}, volume = {4}, Number = {17}, pages = {44-55}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-595-en.html}, eprint = {http://kimiahonar.ir/article-1-595-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {S.Saleh, Monir}, title = {THE TRAGIC DEATH OF EDOUARD MANET The French Pioneer Impressionist Painter in the 19th Century: A Psychoanalytical glance to the Psycho-physical Disturbances, Personality Characteristic, the Personal Life & the Arts}, abstract ={Edouard Manet (1832-1883), the pivotal French painter in transition from Realism to Impressionism – modern-life subjects – primed a colossal deviation in the world of painting at the turning point of the 18th century to the 19th century in France. This paper will psychoanalytically explore Manet’s disturbed life and disarrayed course of development, psycho-physical sufferings including child-parents conflicts, unresolved Oedipus Complex, depressive and sadomasochistic mood as a result of being the object of constant rejection and humiliation by parents and the ruling power that caused a paradoxical and delusional perception of the ‘Self’ inside him. Manet’s art and life-style are woven with saturated controversies: inclination towards natural beauty and classical paintings combined with norm breaking and scandalous life-style as a mean for his rebellious movement to protest social ruling system and advocate modernism. At the early teen age, Edouard experienced a hidden indecent triangular affair involving his father Auguste, and the piano teacher, Suzanne Leenhoff. The lack of intimacy among the parents, abandoned life and vulgarism within the family members with having a lavish family pride provoked a narcissistic personality disarray for Manet, which resulted in a “Freudian Neurotic Family Romance” that caused an identity crisis and self-denial, which consequently led him towards traumatized and severe psycho-physical sicknesses all through his life. By creating radical paintings, Manet was embedding an audacious protest against the hegemony of ruling power and sociopolitical values at his time in France. This was a sudden atrocity and confusing conversion to the world of paintings unacceptable to his contemporaries. Manet’s doctrine was to advocate modernism as a way of self-consciousness and self-reference, which was incongruent to his bizarre life and aristocratic origin. These aberrations affected his personal, social and artistic life towards a physical and mental suffering that eventually culminated to a tragic termination. The merge of immense paradoxical dogma, creative mind, controversial vision to social constraint, foresight for the inexorable rise of new sociopolitical vision in France, at the same time excruciating from the ethical principles, cultural and aesthetic orders in Edouard Manet is significantly thought provoking and questionable.}, Keywords = {Edouard Manet, Psychoanalysis, Impressionism, Psycho-physical disarray, Personality characteristics, Psychopathology, Art}, volume = {4}, Number = {17}, pages = {56-75}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-596-en.html}, eprint = {http://kimiahonar.ir/article-1-596-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Yazdi, Narges}, title = {Exploring “Absent Presence” and “offstage Space” in Sam Shepard’s True West}, abstract ={There are several dramatic characters who enormously appeal to us since they are attractive. Part of this attraction might be owing to their strong stage presence. More interesting, however, are characters who do not appear on stage but their “absent presence” is so strong that influences the characters who do appear physically on stage. There are numerous examples of plays from classic to modern in which the action of the play is driven by a character who is not materially present but is thematically central to the play. The present paper explores the “absent presence” in Sam Shepard’s True West (1980) to show how a character who is not physically present on stage can affect the lives and decisions of character who do have material presence on stage. The examination of this device can not only reveal multiple layers of the play, but can also attract the attention of playwrights to this device to explore it in their plays.  This is a qualitative research for which library sources and reliable Internet sites have been utilized.}, Keywords = {absent presence, offstage space, dramatic characters, True West, Sam Shepard}, volume = {4}, Number = {17}, pages = {76-84}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-597-en.html}, eprint = {http://kimiahonar.ir/article-1-597-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Tadayon, Maryam and Afhami, Rez}, title = {How does Doodling Effects on Students Learning as an Artistic Method?}, abstract ={The main purpose of this study was to assess the effects of doodling on learning performance of high school male students in Tehran. The design of this research was a pre-test–post-test with a control group. A group of 175 junior high school 12 -13 year old students was chosen for this study. After being taught a section of Natural Science course, the students were asked to answer questions related to the lessons. After that, their grades were used as the pre-test scores. The post-test was carried out after the devised treatment. During ten sessions of the same course and teacher, the students were given a blank sheet and were asked for doodling if they liked to/felt for. After each session, a couple of relevant written questions were asked to evaluate how well students learned the lessons. The experiment and control group both consisted of 27 randomly selected students; participants in experiment group were doodlers and those in control group didn’t doodle. To evaluate the doodling effect, covariance analysis is performed. Comparison of the grades showed that the experiment group outperformed the control group significantly (P<0.01).}, Keywords = {Doodling, learning, educational performance, male adolescent, student}, volume = {4}, Number = {17}, pages = {86-97}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-598-en.html}, eprint = {http://kimiahonar.ir/article-1-598-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Adib-Moghaddam, Arshi}, title = {Philosophy, Art and Critique: A (short) conversation with the “other”}, abstract ={The article sketches a nexus between philosophy, art (poetry) and critique with a particular emphasis on the contribution of classical Muslim philosophers. At the same time, it demonstrates how luminaries such as Omar Khayyam and Ibn Sina, contributed to the renewal of philosophy as a freedom seeking exercise and as a means to pursue happiness through knowledge. In the second part of the article this discussion is geographically de-located to include critical theories from mainland Europe. The conclusion focuses on the comparability of these contemporary critical theories with the philosophies of the “east”.}, Keywords = {Philosophy, art, critical theory, Ibn Sina, Khayyam, Adorno, Global Thought, Comparative Philosophies}, volume = {4}, Number = {17}, pages = {98-108}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-599-en.html}, eprint = {http://kimiahonar.ir/article-1-599-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Hosseini, Abbas}, title = {Iconography of the three Icons in Shi’i Muharram Rituals; The Peacock, the Cypress & the Lion}, abstract ={In this paper I will introduce a vernacular emblem, a copper peacock with an open tail which resembles the form of hand and a tiny miniature sculpture of lion, adjacent to the peacock feet. This sacred Shi’it item consists of symbols which have always been presented during Muharram rituals, conveying a number of iconography connotations. Comparison this figure with other Islamic items such as Persian illustrated manuscripts, this paper tend to analyze symbols which play a key role in Muharram rituals and adorns standard or A’lam. Applying iconography approaches, I tend to elaborate this folkloric item which displays a remarkable item that can be seen during Muharram rituals. Not only during Muharram rituals but also in Persian manuscript such as Falnama or Shahnama, these emblems are recognizable. In this essay, after an introduction in order to demonstrate what the iconography is and how this methodology can be applied to analyze a form of art, I will compare different Christian and Islamic icons which demonstrate a key factor in order to answer how imaginary icons and symbols was transferred from the long established Christian Byzantine Empire to Islam? How cross-cultural tendencies of Byzantium era shaped the icons of Islamic art at the age of transition? And consequently, I try to shed light on this question how one can pursue these meaning on Shi’it A’lam or standard in Muharram rituals in terms of iconography?}, Keywords = {Iconography, Cross-cultural, Muharram Rituals, Peacock, Lion, Hand, A’lam, Persian Manuscripts, Falnama, Shahnama}, volume = {4}, Number = {17}, pages = {110-128}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-600-en.html}, eprint = {http://kimiahonar.ir/article-1-600-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} } @article{ author = {Araeen, Rashee}, title = {The Place of Philosophy of Islam in the History of Knowledge and its Role Today in the Modern World Falsafa-e-Islam}, abstract ={The present crisis of the Muslim world is not entirely due to external forces but also what is internal within the common understanding of Islam. Internally, it is not only theological or religious but essentially philosophical. While the West denies Islam its place within mainstream philosophical system, there has not been adequate attention paid to this by the Islamic scholarship itself and then to assert Islam’s historical place and role within the history of philosophy. However, I do not separate philosophy from religion, but it is important to emphasise the central role of philosophy of Islam in the history of human knowledge. This role has been somewhat marginalized or has become submerged under the weight of the primacy of and emphasis on religious ceremonies, which are essential but they are only a way of reaching what Qur’an demands from us in relation to humanity at large. It is in fact due to the somewhat forgetfulness of this fundamental responsibility that most of the Muslim world seems to have now fallen into the abyss of pathetic condition of ignorance (jehalit), confusion and disillusionment. This abyss is so deep that mere dedication to fundamental religious practices, or what have become obsessive ceremonies, cannot save us from what may be an impending catastrophe. Only true knowledge, of ourselves and others, can lead us not only to the true path of our salvation as Muslims but also of humanity as a whole.}, Keywords = {}, volume = {4}, Number = {17}, pages = {130-133}, publisher = {Advanced Research Institute of Arts}, url = {http://kimiahonar.ir/article-1-601-en.html}, eprint = {http://kimiahonar.ir/article-1-601-en.pdf}, journal = {Kimiya-ye-Honar}, issn = {2251-8630}, eissn = {}, year = {2015} }