1 2251-8630 Advanced Research Institute of Arts 1819 Special The Representation of European Landscapes in Later Safavid Painting Aghaie Abdollah Rahimi Hanif 1 1 2021 9 37 7 18 02 09 2020 13 12 2020 From the middle of the Safavid era, with the expansion of relations with the West, European landscapes were used in various ways in the composition of paintings called “FARANGI-SAZI”. In this article, by adopting a hermeneutic approach, the epistemological context necessary for the emergence of “landscape painting” as an independent genre in European painting has been studied and then the transformation of these landscapes in late Safavid painting has been “analyzed” and “interpreted”. The findings of the article indicate that the European landscapes in the painting of that time were considered as “Paragone” as a region next to or behind the main narrative, so the landscape continues its previous role as the “background of the narrative” in the Persian Painting. This shows the continuation of the aesthetic tradition of Iranian painting in painting called FARANGI-SAZI. Despite the enthusiasm of patrons and painters for European landscapes, not many of the remained landscape paintings of this era are done by Iraninan painters. The emergence of landscape painting in post-Renaissance Europe required the establishment of a special form of the dialectic of reason and mimesis. In this dialectic, the mimetic aspect of the landscape shows the subject’s effort to compensate for the growing alienation from nature, while this moment (imitation) in Iranian painting has a narrative and conceptual direction and the “gaze” of the painter depends more on the idea of “Verbal Narrative” than on the objectivity of nature ahead.
1820 Special Methodology of Stylistic Study in Persian Carpet Design and Motifs Mirzaei Abdollah 1 1 2021 9 37 19 35 12 08 2020 21 12 2020 The Iranian carpets, relative to clime and culture of the productive societies, have accepted various visual and technical characters. Scientific and Methodological study of this character and their formative principles is one of the permanent debates among researchers. The main issue of this research is to consider the diversity and individuality of research and analyze methods in carpet studies. This pluralism has caused some problems such as evaluation and confirmation of research data. According to capability of stylistic knowledge at study and typology of art species, researchers continually have asserted the necessity of stylistic knowledge’s utilization for carpet studying’s. The first aim of the study is terminological redefinition of stylistic knowledge’s concepts related to handmade carpet characters and the second aim is offering a scientific methodology to stylistic researches on carpet designs and motifs. By paying attention that recognition of stylistic elements and their evolution are the main axis of stylistic studies, the questions of this research are concentrated on, 1-recognition of specific concepts of stylistic keywords in carpetology, 2-the process of methodological research on carpet designs and motifs from a stylistic point of view, 3-recognition of affective factors in evaluation of carpet designing styles. Results have shown, specific concepts and terminology of stylistic knowledge have the capability of adapting with different aspects of carpet designs and motifs. Thus the methodology of stylistic knowledge and its various approaches can be used for stylistic designinng of carpets or recognition of affective factors in the appearance or the decadence of various designing styles. This study is done using of library sources and field experiences and methodologically it has used descriptive - analytical method. 1821 Special The Rhetorical - Aesthetic Approach to Constructing the Relation between Images and Visual Inventions with Global Politics Beidollahkhani Arash 1 1 2021 9 37 37 51 27 06 2020 09 01 2021 Images and photos play an important role in our understanding of domestic and international events. Today we are living in the age of the visualization of politics. The images are vague, rhetorical, and aesthetic components of political and social phenomena and can give them a beautiful or detestable structure. In the digital age, images in and of themselves can define our structure and vision of reality. Visual innovations act very differently from words. They have a nonverbal nature. The meaning of images always depends on background and interpretation. Understanding the political nature of the images is one of the main goals of this paper. This research, based on a descriptive-analytical approach, bases examines hypothesis that visual images and artifacts, while giving rhetoric and aesthetic dimension to domestic and international political issues, can change the roots, directions, dimensions, quality, and perception of politics and policy issues. Accordingly, the main emphasis of the paper is on the significance and conceptualization of the unknown dimensions of an image and visual innovations as a multifaceted interpretable text. The research analyzes the rhetorical and aesthetic dimensions of images by describing the three methodological stages of “technological, hybrid - interpretive and loading of socio-political perceptions on images” in political analysis of images. 1822 Special The phenomenology of place and Space in Theater stage According to Norberg Schulz Case study: Directing of Elinstein on the Beach by Robert Wilson Abdollahi Musalu Elnaz Afshar Hamidreza 1 1 2021 9 37 53 69 15 07 2020 03 11 2020 Theater and architecture create space and the spirit of life through settings, and both possess the nature of movement, time, rhythm, light, and color. Space and time are the most important common elements of these two arts. Theater directors and designers can put on meaningful and identity- based performances if they make organic use of the human-space relationship in creating space. Phenomenology, due to its ability to recognize the relationship between man and the setting, could be effective in this process. This article analyzes the concept of space in theater directing and performance from the perspective of Christian Norberg Schulz. The main issue of this interdisciplinary research is the evaluation of related conceptual and practical indicators between architecture and theater. Thus, to achieve the main purpose of the research according to Schultz’s theories and viewpoints, “Einstein on the Beach” performance which was designed and directed by Robert Wilson was analyzed. Therefore, by analyzing Schultz’s phenomenological perspectives on the existing structure in space cognition, a descriptive- analytical method was used to achieve the criteria for evaluating space and its characteristics in theater directing. The results show that to improve the organic relationship between the audiences and the actors with the performance, phenomenological approach can be given identity and meaning to the theater scene and performance through the relationship between man and the setting in the creation of space. 1823 Special Analysis of Meaning in the Niche Rug of the Metropolitan Museum by iconoloical method Azhand Yaghoub Namvarmotlagh Bahman Erfanmanesh Sahel 1 1 2021 9 37 71 85 01 08 2020 28 11 2020 Niche rug is a rich collection of the Iranian arts. In this collection, there are exquisite rugs that start with ‘Amen Al-Rasool’ and end with the inscription “Allah Akbra Kabira” under the forehead of Mihrab. A feature of this theological text is that it is woven upside down. Therefore, given the exact geometric structure of the rug, as well as its brocade fabric, it seems that in this swarm of verses, with the inversion of the inscription and the accompaniment of plant motifs, there is some hidden meaning. So the question is how to unravel the meaning hidden in the underlying layers of this text? In order to achieve the right answer, the hidden meaning in different layers must be revealed. Therefore, based on the descriptive-analytical method and Panofskyi iconological method, the meaning is obtained from the sum of different layers of the text. Through the interconnected chain of meanings, it is possible to find the important point that the designer-artist, consciously or unconsciously, has created a work that expresses the spiritual journeying and wayfaring of the worshiper. 1824 Special Art and Technique as two Different Territory for Dasein’s Being Souzankar Marjaneh Rikhtegaran MohammadReza Mostafavi Shamsolmolouk 1 1 2021 9 37 87 97 01 08 2020 28 11 2020 In Being and Time Heidegger believes that Dasein is the only being who has existence, he also argues Dasein has two existential modes: authenticity and in-authenticity. inauthenticity is usual Dasein’s existence, A way of Being in which Dasein has strayed away of himself and has fallen into the chaos of others. In this way of Being he deals to beings as others do, just in terms of efficiency and benefits. Although Heidegger considers in-authenticity as often way of Dasein’s Being but another way is possible. He calls another way of Dasein’s Being, authenticity. In this type Dasiesn transcendences from usual Being. In his later thought, Heidegger attributes authenticity and inauthenticity to different revealing of Being. In this view, Art and Technicque are two important status of revealing. So perhaps Art and Technic could be regarded as two determinative domains of Dasein’s Being.