Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
Reading Image with Erwin Panofsky
7
20
FA
Amir
Nasri
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.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
Exegesis in Ancient Iran and Its Influence on Artwork Interpretation
21
34
FA
Neda
Akhavan Aghdam
The history of the Zoroastrian religion, from the
viewpoint of documentations, is not quite a rich
one and it shortcomings can be observed in written
as well as pictorial resources. Many of the
writings, relative to this epoch, are not survived
and the major portion that is remained has been
long preserved in oral tradition and only written
in followed centuries. On the other hand, due the
Zoroastrian religious opposition to image worship,
the remained pictorial resources of this period are
extremely insignificant. The Zoroastrians believed
that an icon is a place for the settlement of evil
power, hence the prohibition of icon making and
image worshipping. As a result, in Zoroastrianism
the interpretation is fundamentally relevant
to Avesta exegesis. It seems that this tradition was
common even before the times that Avesta appeared
in the written form.
This article initially intends to revolve around
the beliefs of the ancient Iranians about icon creating
and image worshipping in order to determine
what the reasons of scarcity of pictorial resourcesmay be. It follows to introduce the common tradition
of exegesis in ancient Iran that is the interpretation
and translation of Avesta which was
of validity and importance for the Zoroastrians.
Eventually, a plaque relevant to the 7th and 8th
Centuries AD with an image of “Zurvan” is interpreted
with the help of the exegesis of Avesta.
This method guides us to ask a question: could a
correlation be found between the interpretations
of a religious text and that of an artwork? Since
our findings from Avesta text are improved as a
result of modern linguistics it seems sensible to
ask whether this can elevate our understanding of
cultural and artistic works of the era or not?
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
The Enigma of Interpretation in the Works of Samuel Beckett
35
50
FA
Muhammad
Rahimian Shirmard
Meaninglessness, as the most important aesthetic
character of the works of Samuel Beckett and Theatre
of the Absurd, is a way by means of which the
modernistic works of art try to confront the annihilation
of meaning and crisis of modernity. Trying
to deny the meaning while utilizing a negative
approach, which in turn arises from the way they
deal with their inner problems, these works can be
seen as endeavors for expressing the ineffability of
the impossible.
In this article it would be discussed, in an Adornoian
aesthetical framework, that the meaninglessness
in Beckett’s plays is not only a philosophical
and artistic necessity, but also comes from the
inevitable enigmas of these works. Accordingly,
the hidden dialectics of these works which makes
them some sort of puzzle, exposes them to multiple
interpretation. Yet, while displaying the works potential interpretations, this characteristic at the
same time negates any interpretation and, by causing
more ambiguity in the work, shows the shortcomings
of any attempt for unveiling the meaning.
In opposition to this characteristic of the work of
art, the interpretation tries to overcome the indeterminacy
of the works’ elements and make itself
clear and visible through unveiling the work’s
enigma, ambiguity, and absurdity. However, what
always remains absent in this negative dialectics is
the meaning of the work’s enigma.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
Cezanne and Merlaeu-Ponty
51
62
FA
Tahereh
Gholami
Merlaeu-Ponty was an existentialist and phenomenologist
philosopher who sought a new way for describing
human’s experience of the world. In order
to avoid the problems that rationalists and experimentalists
had encountered in explaining human
experience he chose phenomenological method.
Hence, instead of insisting on ideas, Merleau-Ponty
seeks to apply phenomenology to human perception
and its different aspects containing body,
arts, speech and other scientific issues. According
to him, the method of perception is an achievement
not only of philosophy but also of modern
art. He believes that artists, and among them painters
especially, do the same as phenomenologists.
Merleau-Ponty finds these phenomenological aspects
in Cezanne works more than anywhere else
aspects which Cezanne lacked theoretical means
for conveying them and therefore presented them
via his works. These aspects would be discussed in
this article by comparing Merleau-Ponty’s views
with those of Cezanne.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
Linda Noclin’s Critique on the Idea of Distinctive Feminine Art Style
63
74
FA
Shamsolmolook
Mostafavi
Somayyeh
Alamdar
Next to their deep influence on human relations
and social views, one of the effects of the groundbreaking
developments occurred during the last
few centuries in philosophy, science, economy,
culture and art is the reviving attention to feminine
issues in multiple realms and notably that of
art. One of the prominent figures who have conducted
distinguished research in this field is Linda
Nochlin. She is best known as a proponent of the
question “Why Have There Been No Great Women
Artists?” which has led to new feminist investigation
in art history. Drawing on Feminist aesthetics
she challenges the basic philosophical and
social presuppositions in art world and argues that
for a great artist-genius to be known and for a great
work of art to be shaped, social beds and institutional
factors play an important role. This article
would discuss her main viewpoints on this matter.
It will be expressed that Nochlin sets Men’s artistic
works against those of women to show that both
men and women are capable of producing every
sort of artworks and hence to contend that there’s
no such a concept as feminine artistic style. She
proposes this notion that the women artists’ selection
of what is called feminine concept is done
under the influence of social, institutional and educational
elements.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
An Analytical Study of the Mutual Relationship between Art History and Comparative Study of Art
75
88
FA
Meghdad
Javid Sabaghian
Seyyed Sa’id
Seyyed Ahmadi Zavieh
According to books and references on the official
history of art, it is generally accepted that this
discipline is composed of a collection of historical
classifications about international art, namely
schools, styles, and artistic manners set forth by
art historians. The mutual connections and relations
between art history and comparative study
of art can be elucidated by explaining the way
practitioners of both disciplines make use of each
other’s findings. While trying to shed a light on
these mutual relations, this article would study the
role of comparative art study in revisions made to
the basics of art history. Meanwhile, the essence
of comparative art study and different histories of
comparative history of art would be discussed.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
6
2013
5
1
89
108
FA