2024-03-29T13:54:48+03:30 http://kimiahonar.ir/browse.php?mag_id=22&slc_lang=fa&sid=1
22-877 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Nature in the Frame of Art An Inquiry into the Art-centered Model of Aesthetic Appreciation of Nature Masoud Olia masoud.olia@gmail.com One of the key issues in the aesthetics of nature as a main branch of philosophical aesthetics is the “nature” of aesthetic experience, or rather appreciation, of nature. In this context, some models are suggested that made this appreciation subject to some conditions from descriptive or prescriptive point of views. In this paper, after an overview of the main suggested models, one of them, the art-centered or artwork-based model, is discussed, a model which makes appreciating aesthetic aspects of nature similar to appreciating arts, especially the visual arts and most notably painting. The question is to what extent this model can do justice to the aesthetic appreciation of nature qua nature. In response, it will be shown that at least for five important reasons, this model is not a sufficient one, and it can not capture all the characteristics of the aesthetic appreciation of nature. At the same time, referring to the exchanges between art and nature, it is argued that emphasizing on the inadequacy of the artcentered model does not mean that it is unable to enrich our aesthetic experience of nature in some important ways and to illuminate some of its dimensions without which it would remain dark. nature art aesthetic appreciation frame the picturesque aesthetic experience 2017 2 01 7 16 http://kimiahonar.ir/article-1-877-en.pdf
22-896 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 A Study of Gadamer’s Conception of Art as Representation Sepideh Eghtedari cepide.eghtedari@gmail.com Amir Maziar maziar1356@gmail.com There has always been an enduring relation between art and the concept of representation. In the earliest philosophical contemplations, the concept of representation was taken to be an essential feature of art. However, the advent of new art forms, rendered this theory obsolete. Notwithstanding, Gadamer calls art representational, in the 20th century, when many of art theorists had already conceded to the fact that the theory of art as representation had never been fully comprehensive or took it as insufficient for art. The present paper is an attempt to study Gadamer’s  understanding of art as representation, relying on his magnum opus, Truth and Method. The aim of this paper is to give an account of how Gadamer retrieves representation in art and claims the concept of imitation to be sufficient for the theory of art. His attempt results in positing a definition of art beyond subjective consequences of modern aesthetics. Gadamer representation critique of aesthetic play transformation into structure recognition 2017 2 01 17 27 http://kimiahonar.ir/article-1-896-en.pdf
22-897 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Badiou’s Incompatible Ideas about Artistic Truth Alireza Esmaeilzadeh Barzi Alirezamarch65@yahoo.com This paper will provide a critique of Badiou’s ideas about art and artistic truth. We diagnose an incompatibility in this area of his philosophy. We can  obviously recognize this if we compare Badiou’s general views about truth and artistic truth in one hand and his encounters with special works of art in other hand. A precise investigation on the nature of these encounters will expose a deep incompatibility between two different meanings of artistic truth, simultaneously at work in Badiou’s philosophy. Recognizing this, we can account for some inconsistencies and discordances that occur in his different texts. Alain Badiou artistic truth configuration Mallarme poetry staging incompatibility 2017 2 01 29 41 http://kimiahonar.ir/article-1-897-en.pdf
22-898 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Correspondence of Visual Representation and Order in Decorative Art From Ernest Gombrich’s Point of View: A Case Study on Muharramat Textile Design Ameneh Mafi Tabar amenehmafitabar@student.alzahra.ac.ir Fatemeh Kateb Fnkateb@googlemail.com Mansour Hesami mansourhessami@gmail.com Visual representation is a deep, multidimensional concept whose simplest form is considered equal to realization of perception. Order is another related concept which, being mostly accompanied by abstraction and repetition, is assumed to weaken representation of reality. In such situation, visual representation and order are in contrast such that as order prevails within an image, representation is weakened, ergo put to divergence and multiple other defects. However, as Ernest Gombrich, a most prominent thinker at psychology of visual perception, believes, visual representation is less close to realization and more related to the viewer’s perception of his/her special sensory and cultural conditions. This makes image both loyal to its own covenants and subject to different possible realizations. With this in mind, the present paper seeks to investigate the correspondence of representation and order within decorative art, particularly in Muharramat textile design. Employing an analytic methodology and based on documentary studies, it, indeed, seeks to explore Gombrich’s ideas, examine the correspondence of visual representation and order within decorative art, and apply it to Muharramat textile designs. With such a framework, it is concluded that not only increased abstraction- and modeling related order do not weaken representation, it also makes it more encompassing. As such, perception gets infinite and is mostly bestowed on the viewer. Here, with their repetitive striped patterns and by excluding any imposition of reality identification onto the viewer, Muharramat designs provide the chance for creation of perception and interpretation with higher degrees of flexibility and, through their element of repetition, make the influence much stronger. decorative art visual representation order Ernest Gombrich Muharramat Textile 2017 2 01 43 56 http://kimiahonar.ir/article-1-898-en.pdf
22-899 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Realization of the Symbiosis of Interior and Exterior in the Architecture of Mosques in Iran (with an Emphasis on Fuzzy Method) Ghorban Mahboobi architamah@yahoo.com Mostafa Mokhtabad mokhtabm@modares.ac.ir Mostafa Attarabbasi Architecture is, in fact, the formulation of the relationship between interior and exterior, and this is the most fundamental issue in architecture. The  interaction between interior and exterior includes functional and geographical effects, and cultural and social relations which can be considered as a “relationship” per unit of time. However, the term “symbiosis” refers to the interaction of living things (real or virtual). Architectural “Ontology” in general or the symbiosis of interior and exterior in particular, is a qualitative approach based on human and environmental variables which are, in turn, indivisible, floating and interconnected. Fuzzy methods facilitate such studies by measuring the variables and their relationships. The present study is mainly aimed at clarifying the relationship between interior and exterior spaces in the most famous mosques in Iran through spatial, physical and semantic analysis. The study aims at a fundamental purpose by collecting data from library sources and field research based on a descriptive method with fuzzy analysis. The study results indicate first the efficacy of fuzzy analysis in identifying the components of “interactive region” and explaining the quality of the symbiosis in the architecture of the mosques. Second, the results reveale that the absolute generalization of a concept, as the fundamental principle of the mosque architecture, is to disregard the values which are different from that certain concept in other conditions based on the incompatibility principle of the fuzzy theory, although these values may first appear to be heterogeneous, they are significant at a higher level of insight and considered to be the basis of the identity of any building. symbiosis fuzzy method mosque architecture interior exterior interactive region 2017 2 01 57 75 http://kimiahonar.ir/article-1-899-en.pdf
22-900 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 The Metaphysical Foundation of Appearance of Linear Perspective Technique in Renaissance Painting Abdollah Aghaie abdaghaie@gmail.com Marziyeh Piravi Vanak mpiravivanak@gmail.com The appearance of linear perspective technique in Renaissance period, had a deep effect on Western pictorial tradition. After this era the pictorial space of western painting was affected by spatial logic of this technique at least for four centuries. The appearance of this technique, before being a product of genius of a painter or a scientist, was the product of a historical era. It was only in this era that the composition of historical situations led to appearance of this technique and later its universal validity. The problem that this paper examines is the “whatness” of metaphysical foundation of this appearance. In Heidegger’s point of view, metaphysics establishes an age by projecting a specific understanding of “being of beings”. The main question of this paper is that: “on which ground of metaphysics, was this technique (linear perspective) raised?” In this paper firstly, with the use of Panofsky’s pictorial analyses, it is shown that how application of linear perspective technique creates infinite, homogeneous and mathematical space in Renaissance painting, then by explaining the mathematization process of sciences and ontology in that era, the paper would illuminate the appearance and development of linear perspective technique based on modern metaphysics. modern metaphysics modern science the mathematical linear perspective space place 2017 2 01 77 93 http://kimiahonar.ir/article-1-900-en.pdf
22-901 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Monomyth reading of Alexander images Neda Vakili m_455m@yahoo.com Historically, the desire for eternality, immortality, and attempt for liberation from death has been one of the most important intellectual concerns of human being. Man constantly has produced fictions in response to this desire, and symbolized this desire in the form of narratives, religious and mythical  characteristics, legendary heroes, and various literary and artistic genres. Among most important artistic expressions in quest for eternality in Persian-Islamic culture and resources is the Alexander story and its imagery. This paper would attempt through comparison of images of quest for eternality in Alexander story with Campbell theory of Monomyth (the pattern during which the hero passes through the stages of Separation, Initiation, and Return) to address the classification of standpoints of narrators of this narrative about the quest for eternality, in addition to collecting created images in different imagery resources. In the meantime, through examination of descriptive variables some results are obtained including that in some parts of the story especially in military expeditions there are images in conformity with Campbell cycle, but at the end of this story Alexander does not return according to the cycle, and revitalizes in that special world and reaches to the alteration. So we witness the least amount of conformity with the pattern.  imagery Alexander Campbell monomyth eternality 2017 2 01 95 109 http://kimiahonar.ir/article-1-901-en.pdf
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Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 5 21 Eastern Interpretation of Mir Heidar Mirajnameh Naghme Kharazian naghme.kharazian@znu.ac.ir Marjan Mortazavi : marjanmortazavi@ymail.com Abbas Nobakht abbas.nobakht@gmail.com The history of painting in Iran involves different schools و all of which have been affected both by East and West. The heyday of this art is in the Timurid era at 15 c.e, Herat school, and Far East art influence is one of the prominent features of this school. Most of left works of Herat studio resulted in Herat school was founded by Shah Rukh. Mir Heidar Mirajnameh was one of these books. This edition, compared to other editions of Mirajnameh such as those attributed to Ahmed Musa belonging to the Ilkhanid, have the special motifs and elements of Far East. It is noteworthy that this influence is not limited to the art style and visual elements but they enter to painter’s mental imaginary in interpretation of Miraj and different beings that prophet Mohammad (pbuh) faces within his journey. Now the question is whether this is just a version in Timurid school with eastern elements or these effects have been entered in the content of works and basically they can be considered as an eastern interpretation of ascension of prophet (pbuh)? In this study, which is done with analytical method according to deduction of evidence and available resources, first, the 13-18 verses of Najm Surah, Esra`a Surah and narratives about the ascension of Prophet Mohammad (pbuh) will be considered to determine differences between picture frames on Shah Rukh Mirajnameh and the ones in Quran and Hadith. Then, through a study of equivalent elements in eastern religions especially Tibetan Buddhism and comparing them to images of Mirajnameh, it is concluded that the painter is indebted to eastern concepts in presentation of creatures and elements of narration. prophet Mohammad Mir Heidar Mirajnameh Vajrayana Buddhism Far Eastern art Persian painting Timurid era 2017 2 01 111 129 http://kimiahonar.ir/article-1-902-en.pdf