Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Rooster and Its Role in Seven Paintings
7
14
FA
Mehdi
Hosseini
mehdi.hosseini43@yahoo.com
Y
Rooster’s shape, form and outward appearance has become a symbolic emblem in many different cultures and has been chosen as a vehicle for mediating thoughts. Rooster is the symbol of courage, life struggle, justice (since it shares its meals with hens) and a manifestation of far – seeing in Egyptian world view. In Japan it is an emblem of praying. It is the symbol of sunrise and serves as a time reminder in almost every culture. Rooster is the symbol of chivalry, courage and dutifulness in Chinese rituals. The presence of rooster and hens in yard or garden declares the passion and joy of life and human beings become cheerful by seeing them. Many visual artists across the nations have always used this bird to create artworks. Painters and designers have produced splendid and varied examples of this fowl in their works and hence illustrated the beauty of this natural entity through their drawings and paintings. In this article some of these works are introduced and their structures and compositions are analyzed.
belief, culture, rooster, ritual, symbol
http://kimiahonar.ir/article-1-21-en.html
http://kimiahonar.ir/article-1-21-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Praise of Life as a Zoroastrians Belief Depicted
15
30
FA
Neda
Akhavan Aghdam
n.akhavanaghdam@gmail.com
Y
One of the most important eras in the Pre-Islamic Iran is Sasanian, so in the art history studies their artistic works should be taken into account with subtlety. Metalwork could be considered as one of the most important artistic branches in this era. The Sasanian metalwork could be divided on the basis of the form of vessels or the scenes depicted on them. This research is focused on the metal vesels with the images of “dancing girls”, “musicians”, and “the scenes of festivals”. So far the 5 scholars have interpreted these images with different approaches and manners but this article would undertake to study the vessels and their depicted images from another view with descriptive and analytic approach. Although we could never reach a definite interpretation of the ancient artistic works, the present research aims to introduce another idea about these vessels for further studies.
Sasanian art, Sasanian metalwork, images on Sasanian vessels
http://kimiahonar.ir/article-1-22-en.html
http://kimiahonar.ir/article-1-22-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Liberal Arts and Cosmic Music: A Contemplation on Boethius’ Theory of Aesthetics
31
40
FA
Esmaeal
Panahi
Panahi.e@ariaas.com
Y
As the last Roman philosopher and Christian thinker in early medieval period, Boethius played a significant role in the transmission of logical, philosophical and scientific ideas of ancient Greece by translating their works into Latin and through writing commentaries on them. Boethius’ views on beauty and art are drawn upon the Platonic and Pythagorean basics. Although in his original works there is no independent writing on art and aesthetics in its modern sense, his ideas about aesthetics and art are permeated through one of his treatises called De institutione musica. In this paper, I’ll reconstruct and explain Boethius’ view on beauty and art. First, with an overview on his philosophical and theological ideas, I’ll investigate his role in developing the medieval theories of art and beauty and then by remarking specific characteristics of his thoughts on art and beauty, I’ll analyze them. Influenced by Pythagorean mathematical and geometric thinking, Boethius considered the concepts of harmony and proportion in the form as beauty criteria and took the concept of beauty in relation with appearance and phenomenon. He supposes the music as the real art or the liberal art -in his own words - and by expansion of the music concept talks about the cosmic music, the human [spirit] music and the instrumental music. From a Platonic view he recognizes the real (or liberal) artist or musician, one who with an intellectual insight is able to understand the harmony and coordination in the cosmic spheres and human spirit.
liberal art, harmony, cosmic music, human music, instrumental music
http://kimiahonar.ir/article-1-23-en.html
http://kimiahonar.ir/article-1-23-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
The Principle of Horizontality in Islamic Architecture
41
64
FA
Seyyed Gholam Reza
Islami
gheslami@ut.ac.ir
Y
Mahnoosh
Shahinrad
m.shahinrad@modares.ac.ir
N
In Islamic arts, the importance of the harmony between manifest appearance and its deep meaning as well as structure is an undeniable fact. In this context, using fundamental principles that rise from deep structure guarantees the harmony. Horizontality is one of these guiding principles that, when used in Islamic architecture, makes this art unique by way of its deep-seated spiritual origins. This principle is not only found in spaces and ornamental patterns of Islamic architecture, but arguably it has developed roots in the Muslim artist’s life approach and his way of thought. In this paper, using simulative research method, the mechanism of utilization of horizontality in creation of Islamic Architecture is to be perceived. First, a conceptual model is proposed which elaborates the creative process of making artworks from basic, internal principles and the important role of these principles in the design process. Following, the principle of horizontality in Islamic architecture is redefined and re-presented. This paper argues that utilization of horizontality is the consequence of holistic view of the artist from above. Also, adherence to the theosophical belief of Vahdat Vojūd (Unity of all Existences), which is based on Islamic Monotheistic worldview, gives 6 Quarterly First Year, No. 2 spring 2012 the Muslim artist a specific interpretation, which differs greatly from that of the humanist or even Christian artists. The Muslim artist considers his inner being as the seat of God (Allah) and it is from this stance that he views all his surroundings, including architectural space. From this point of view, there is no opposition, no borders and no directions. Instead, everything revolves around equality and infinity. Thus, everything is horizontal.
Islamic architecture, horizontality, monotheistic worldview, horizontal thinking, Vahdat Vojūd
http://kimiahonar.ir/article-1-24-en.html
http://kimiahonar.ir/article-1-24-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Persian Garden in Pope’s Perception: A Detailed Description of “Gardens” Article in the Book: “A Survey of Persian Art: From Prehistoric Times to the Present”
65
86
FA
Ali
Alai
alai.arch@gmail.com
Y
Arthur Upham Pope and his wife Phyllis Ackerman are both among the most wellknown recent researchers who have published various books and articles about Persian art and architecture. One of their most famous and significant works is their 16 volume encyclopedia titled “A Survey of Persian Art: From Prehistoric Times to the Present” and published in 1977. This book has been used by researchers around the world as one of the basic references for studying history of Persian art and architecture. The book has been translated into Farsi in 2008. The last part of the third volume of the book contains an article named “Gardens” in which the authors have considered various aspects of historical gardens of Iran in a rather compact text. The text does not have any detailed sub-headings and includes just two drawings, so the reader should refer to other volumes to view the pictures and plates. Since the authors have a broad research background on the history of Persian art and architecture, it is worth having a more detailed look at the article here which could be useful for those researchers and scholars in the field who may not be familiar with the article or may not have access to it. The article discusses several related issues on Persian gardens such as their history, aim and such objectives of creation as their space, their critical role in people’s life in the region, their properties, design layout and their elements such as ponds, water canals, trees, flowers, animals and decorations. The article also provides a vast and complete list of original and historical references on Persian gardens.
garden, Persian garden, Pope, Persian art, architecture
http://kimiahonar.ir/article-1-25-en.html
http://kimiahonar.ir/article-1-25-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Garden Yearning – Desire for Paradise in Iranian Abstract Art With Reliance on Āšūrāī Flags
87
108
FA
Davoud
Mirzaei
davidivad.1981@yahoo.com
Y
Focusing on āšūrāī flags, this article studies the issue of garden yearning (Hasrat-e Bagh) or desire for paradise (Tamannay-e Maynoo) as a main incentive in abstract art of Iran. For this purpose, a comparative and analytic comparison is made between āšūrāī flags and Iranian landscape architecture (or Iranian garden) on the basis of two main factors, i.e. climatic conditions of Iran – land and manifestation of beliefs. The reference to and reflection of this desire in different Iranian – Islamic arts including illumination and painting are demonstrated and then evident similarities of these two cases are studied showing that the common spirit among all these arts is that of garden yearning/desire for paradise. In summary, regarding climatic and ideological considerations in the unconscious mind of Iranian artist, the presence of an ideal image or pleasant paradise has always been effective on his artifacts and hence all of his arts pertain somehow to this yearning, thirst and desire for returning and eternal residence in 7 that evergreen garden. Meanwhile, symbols applied in āšūrāī flags are affected by specifications of Iranian garden and that’s because of their relationship with religious beliefs and the embodied nostalgic image of that eternal and pleasant home which reflects the nature of this nostalgic desire more clearly than other Iranian art varieties.
garden-paradise (Bagh-Behesht), desire for paradise (Tamannay-e Maynoo), āšūrāī flags, Iranian landscape architecture, Iranian abstract art
http://kimiahonar.ir/article-1-26-en.html
http://kimiahonar.ir/article-1-26-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
Simulation: History and Concept A Survey on the Implications of Simulation for Contemporary Art and Society According to Jean Baudrillard
109
120
FA
Soheila
Mansoorian
sizarta_dey@yahoo.com
Y
In the following article, the concept of “simulacrum” and its development and evolution through history is surveyed. This concept is coined by the French thinker, sociologist and philosopher Jean Baudrillard who, with the beginning of the postmodern era and in the 1960s, delivered his ideas with his own style through essays and lectures using such terms as “simulacrum”, “simulation”, “hyper-reality” and “implosion”. Baudrillard starts with a leftist view and criticizes Marx’s theories and then summarizes the results of this collation in this idea: all existing actions are for increasing the consumption and passivity of the subject. This notion which is substituted for Marx’s key term “Production” conducts the whole existing areas in the postmodern phase and proves through the concept of simulacrum that the whole existing areas, including politics, arts and religion, are irreferential codes that devote their efforts to the will of a perhaps political or economic ideology. These codes are a set of chained, repetitive, intentional and drained-of-significance codes to the extent that Baudrillard claims that, apparently, the best plan to reach the economic- political goal is not to have a plan at all, namely the strategy of insignificance. The drained consciousness is the ultimate goal of the existing condition and the consequent amazement and silence of the non-conscious and non-revolutionary subject is the best result and answer to this scheming in the postmodern condition. It is in this situation that the subject loses the choice of action and any kind of desire for sublimity from this condition is negated for another kind of life, a process through which the truth of contemporary or postmodern art assures itelf that regarding this situation it has carried out its task.
hyper-reality, simulacrum,simulation, implosion, symbolic exchange, contemporary art
http://kimiahonar.ir/article-1-27-en.html
http://kimiahonar.ir/article-1-27-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
1
2
2012
4
1
A Survey on the Concept of MYTH in Islam’s Way of Treatment: Deliberating on the Quranic Meaning of “Myth’s” Various Features And Its Phenomenological Connotation
121
134
FA
Seyyed Kamal
Haj seyyed Javadi
javadi@ariaac.ir
Y
Regarding the relation between art and myth, in order to express the root of Islamic - Iranian art, myth has been searched through Quranic verses. It is understood from the Quranic and Islamic culture that the concept of “āsatīr-ol-avalīn” (prior myths) contains a negative meaning, lacks approving truth, and has no external or even historical reality. On this basis, any adaptation and comparison of Quranic narratives, teachings and principles with myth is a wrong process. So it is criticized there when the Word of God is called “The Fables of the Ancients or Old World Tales” by polytheists and pagans. In this essay, by analyzing the concept of myth in Islamic tradition and the etymology of this word in Persian and Arabic language, I’ve criticized the speculation which introduces phenomenological 8 Quarterly First Year, No. 2 spring 2012 view to the myth as a way to understanding myth and divine faith. Scholars such as Eliade and a few of his colleagues believe that religion or myth in religion can be understood by phenomenology. On this basis, phenomenologist in religious studies should think like a believer in myth and from his point of view should try to understand the role and meaning of myth and religion. They believe that religion is a myth that a believer accepts its reality through phenomena and their appearances (without truly understanding their nature and reality). But according to holy verses of Quran and Islamic religious literature, the word “āsatīr-ol-avalīn” implies fables of the ancients which mostly have forged and void contents, and hence using it interchangeably with terms like historia and myth in the west thought is not correct. According to the above statements, by reviewing the Quranic literature about this word and mentioning examples of incorrect comparison of Quranic contents with myth, the phenomenological approach to the myth and religion is criticized. The opinions of those groups who have compared ethics, sacred rites and Quranic ordinances of law with myth have been shown in details. It has also been explained that the foundation of religion is divine. Also by exemplifying, it is said that the phenomenological intellective apprehension of images about myth and the viewpoint of myth hermeneutics has no basis for understanding the unchanging essences of religion.
myth, phenomenology, reality,concept, holy
http://kimiahonar.ir/article-1-28-en.html
http://kimiahonar.ir/article-1-28-en.pdf