Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
Pattern and beyond: An Introduction to the Aestethics of Naqsh and Painting in Rumi’s Mathnawi
7
17
FA
Mehrdadi
Ghayoomi Bidhend
دانشگاه شهید بهشتی
Hamid Reza
Pishvaei
The scholars of pre-modern Iranian art have been confronted with a basic problem: can one talk about an aesthetic of pre-modern Iranian culture? One way to approach the privileged aesthetics in any era is studying the basic concepts of art in its written sources. Naqsh (pattern) is one of the most important concepts in pre-modern Iranian culture and all the arts deal with it. Rumi’s Mathnawi is among the most important written sources of Iranian culture: it is not only a manifestation of its contemporary culture, but has also affected the Persian and Persianate culture of its period and the next periods so far. As the subject of the present research, Mathnawi is full of explicit and implicit connotations to the patterns, forms, images, and meanings in various artifacts and arts. Therefore, the concept of naqsh is one of the basic doors which opens to the aesthetics of Mathnawi.
In Mathnawi, naqsh has a dual meaning: one about the works of painting the other as a synonym of the concept of surat (form). However, Rumi by the both meanings invites the reader to pass from the realm of manifests and forms to the realm of transcendental meaning. It is the very invitation from the pattern to the beyond of pattern that forms the heart of Rumi’s aesthetics.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
The Aesthetic of Performance in Ta’ziyeh and Female Audience
19
25
FA
Narges
Hashempour
Ta’ziyeh as a ritual performance is the most significant representation of the Iranian traditional- religious culture. Although Ta’ziyeh has been mostly researched either from the ritual or theatre aesthetic perspective, the ritual and theatrical elements in Ta’ziyeh, as other religious plays, are interwoven. Considering this interweaving, the aim in the following article is to show how, from the aesthetical point of view, there are a dynamic relationship between actor and audience in such a way that the audience is a co-player and the actor is a co-audience in Ta’ziyeh. In this way, it can be redefined anew the role of audience, specifically female audience.
By participating in each performance,which has its own time and place, the audience
and performers in Ta’ziyeh are able to
experience a “liminal” and “in between”
time and space. Regarding this aspect, the
other aim is to demonstrate how this feature
has a double -dialectic function on the
audience, particularly female audience. On
the one hand they repeat and stabilize their
social and cultural identities on the other
they segregate themselves from the daily
life and its belonging conventions and
norms.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
Tragedy in Plato’s “The Republic”
27
44
FA
Sa’id
Shapouri
Ismaeil
Baniardalan
Hasan
Bolkhari Qohi
The ancient Greeks were trained based on
poems of Homer or tragedy writers, and
Plato, almost in all his works, especially in
“The Republic”, which is the most complete
and best-known one, is the enemy of
poetry and tragedy and the training methods
based upon them. In three books of it,
i.e. second, third, and tenth, more than any
of his other writings, he suppresses poetry
and tragedy, and with reasons, puts the poets
and writers of tragedy outside his ideal
city-state.
Plato argues that the primary reason for
this is the falseness of stories, or saying not
the whole truth. He then deals with the imitation
and by introducing the Universal
Forms (Ideas) and the allegory of the cave,
describes the imitators as those imitating
the picture, which itself is an imitation of
the truth. They, then, are three phases far
from the truth. At this area of the visual
arts, there are imitators, both painters and poets, who are the tragic writers. Plato, dividing
the human soul into the noble part
and the ignoble one, accuses poets because
they excite the latter part of the human
soul.
Plato, who is looking for a new training
method based on the philosophy for his
utopia, does not mention it in The Republic,
but at The Laws, which is the work of
his old ages and his maturity, describes
clearly his writings as a good example of
philosophical training for the ideal city.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
The Body and Senses in New Artistic Media: A Merleau-Pontyan Approach
45
52
FA
Mehrangiz
Basiri
For centuries, artworks belonged to determinate
spheres of art media like painting
or sculpture which have had their own
boundaries and laws. But after 1960s, the
boundaries between media and also in
general between art and non-art have been
disappeared. By the increasing possibility
of an ordinary object to be an art object,
the meaning of media started to change. In
60s, the origin of artwork was not in its object
but the origin was searched in everyone’s
experience. The object, just by being
in field of perception, could make
possible aesthetic perception. When every
day perception and the experience find the
main role in art of post-modernism, the
theory of French phenomenologist Maurice
Merleau-Ponty will give us possibilities
to take an accurate look in these changes
in art. In this article, his ideas of
embodied perception and the correlation
of sensations, and also the relation of them
with new media are studied.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
A study in term of Undecidability: Reading the paintings of Alireza Espahbod
53
64
FA
Firoozeh
Sheibani Rezvani
This essay is an attempt to view deconstructed
notion of “Undecidability” and
analyze readings that focus on a few paintings.
The central argument of this study
consists of two main sections. First, the
formation of the West philosophy and
strategies of deconstruction will be explained.
Jacques Derrida developed a strategy
called “deconstruction” in the mid
1960s. Deconstruction is generally presented
to subvert, the various binary oppositions
that undergird our dominant ways
of thinking—presence/absence, speech/
writing, and so forth. The deconstructive
strategy is to unmask these too-sediment
ways of thinking, and it operates on them
especially through two steps—reversing
dichotomies and attempting to corrupt the
dichotomies themselves. The strategy also
aims to show that there are undecidables,
that is, something that cannot conform to
either side of a dichotomy or opposition.
Indeed, to complicate matters, undecidability
returns in two discernible forms in
his explorations of these “possible-impossible”
aporias, it becomes undecidable
whether genuine giving, for example, is
either a possible or an impossible ideal. In
the second part, the three paintings of Alireza
Espahbod(1330-1385), Iranian contemporary
painter deconstructed reading
and analysis will be described. His major
works, the study of the visual masterpieces,
which are known in the history of art.
Amongst our contemporary artists, a few
have particular social presence. We see different periods of the artist’s works with
the topics of three of these titles works:
“FREEDOM”, “RED HORN”, “RED
HORN (detail)”. At the end, describing
and analyzing Espahbod’s paintings can be
pluralistic approach in Deconstruction
reading. The main objectives of this research
are: Understanding concepts of
“undecidability” as pharmakon, Supplement,
Khora. Then feed these concepts
from the perspective of deconstruction and
read the text as examples of paintings. The
results of this strategy are the potential of
“Deconstruction” for the analysis and
study of the Art domains suggests.
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
2
9
2014
3
1
Manifestation of Phenomena of Fear and Angst/Anxiety in Film World
65
77
FA
Ahmad Ali
Heidari
Muhammad Sadegh
Sadeghipour
In this essay, the phenomena of Fear and
Angst/Anxiety are analyzed according to
Martin Heidegger's thought only to prove
that this significant field is defined as a
range of inauthentic fear toward authentic
angst/anxiety and it is revealed as »happening
of truth« or strife between world
and earth, in Film world? Monster, as embodiment
of evil and constitutive pivotal
element of Horror Cinema, is manifested
in various appearances of phenomenon of
fear. Horror Cinema via projecting fundamental
elements of Heidegger's hermeneutic
analysis (i.e. world, death, guilt, projection,
authenticity and inauthenticity) in
relation to Dasein in terms of a cinematic
expression, makes the disclosure of »happening
of truth« in the film world possible
via audience contribution, as an interpreter
Dasein engaged in this world, and the revealed »happening of truth« in this Cinema
is phenomenon of Fear and grounding
attunement of angst/anxiety which is uncovered
in a cinematic world.