@article { author = {shaygan, soudabeh and khodadadi motarjemzadeh, mohammad and soleymani, farhad}, title = {Mythoanalysis of Gregory crewdson photographs based on gilbert Durand's method}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2020.2391.1362}, abstract = {From the perspective of mythologists in the fields of art and literature, the mythical study of art or literature works would be the most beneficial kind of studies because by decoding mythical parts of them the most essential parts of them would be realized. In this way the mythoanalysis method of gilbert Durand is a mythological method of analyzing art or literature works with the purpose of identifying the same roots of contemporary artworks and myths created by ancient people. By using this method some reasons would be found for repetitive motifs in artist works except the reasons depend on artist life experience. In other words, this method search the reason of repeating one motif in archetypes and collective unconsciousness. So the hypothesis is that mythical scenes and motifs are hidden in today photographic pictures which are coming from artist unconscious. therefore American staged photographer; Gregory crewdson whose photos have a reputation for being imaginary is a good choice for this kind of studies. In this paper mythoanalysis of gilbert Durand would be used to analyze crewdson photos in order to identify mythical scenes and motifs in them. This method has three steps at first repetitive motifs should be found and at next step by studying social or political circumstances some of that motifs would be considered as reaction to the circumstances in addition some of the motifs would be the reactions to the artistic atmosphere of era. Finally in third step the motifs which are probably coming from artist's pure imagination all together can form a network of metaphors and symbolic meanings which is similar to a mythical network, story or creature. In this paper three steps have done and At last discoveries show that Hecate is mythical creature which is hidden in crewdson works and is represented unconsciously in some motifs which are repeating without any special external reason. For instance, crossroads are repeating in Crewdson photographs and Hecate is the goddess of crossroads and her sculpture prayd in crossroads. Also Hecate has two different faces one of them is the face of night and scare and the other one is a helper for pregnant women amazingly in crewdson photos two different face is shown for women one of them is pregnant and the other one is mysterious and frightening. In addition to this two similarities some other ones discovered so the similarity between the network of unconsciously repetitive motifs in crewdson's photos and Hecate shows that hypothesis is true about this photographer and this method help to find new points of views about his photographs because usually in psychoanalysis of his photos some personal reasons and his memories had been used to interpret his works but know some archetypes which are shared between all the people in all eras and locations can be used to interpret photographs of this contemporary artist.}, keywords = {mythoanalysis,gilbert Durand,Gregory crewdson,staged photographsy}, title_fa = {اسطوره کاوی عکس‌های گرگوری کرودسون بر اساس روش ژیلبر دوران}, abstract_fa = {از نظر اسطوره‌پژوهان در حوزة ادبیات و هنر، شناختِ اسطوره‌ایِ یک اثر، شناخت کانونی و مرکزی آن است و با رمزگشایی از این عنصر، مهم‌ترین و اساسی‌ترین بخش یک اثر رمزگشایی می‌شود. در این مسیر، اسطوره‌کاویِ ژیلبر دوران یک روشِ نقد کیفی است که در آن به یافتن شباهت‌های میان مؤلفه‌های تکرار شده در آثار هنرمند و یک روایت یا شخصیت اسطوره‌ای پرداخته می‌شود. این روش نقد در واقع وجود کهن‌الگوهایی در ذهنِ بشر که به شکلِ ناخودآگاه به تخیل او شکل می‌دهند را به عنوان دلیل تکرار برخی مؤلفه‌ها و درونمایه‌ها در آثار هنرمند معرفی می‌کند. این روش نقد برای آثاری مناسب‌تر خواهد بود که تخیل هنرمند در آن‌ها دخیل باشد و در این مقاله با هدفِ یافتنِ این صحنه‌ها و موقعیت‌های اسطوره‌ایِ پنهان، گرگوری کرودسون عکاس صحنه‌پرداز معاصر آمریکایی که تصاویر را ابتدا در ذهن می‌سازد و سپس این تصاویر ذهنی را اجرا و عکاسی می‌کند، مورد بررسی قرار گرفته است. نتایج نشان می‌دهد که مؤلفه‌های تکرارشونده‌ای در عکس‌های کرودسون وجود دارند که با ویژگی‌های اسطوره‌ی هِکاته شباهت دارند و با توجه به این اسطوره می‌توان کلیت آثار او را تفسیر کرد. تفسیری که با تفاسیر مبتنی بر زندگی شخصی، سرگذشت، علایق و گفته‌های خود عکاس متفاوت می‌باشد.}, keywords_fa = {اسطوره‌کاوی,ژیلبر دوران,گرگوری کرودسون,عکاسی صحنه پردازی شده}, url = {http://vaa.journal.art.ac.ir/article_933.html}, eprint = {} } @article { author = {Sahragard, Mahdi}, title = {Recognition of the Eastern Traditions in Producing of Mushaf al-Hāḑina (Copied in 410 AH/ 1019 AD, Kairouan)}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2021.3627.1606}, abstract = {Due to lack of Dated Qurans and manuscripts from the first centuries of Hijri, our information about the artists and styles common in each region of the Islamic world is very limited. It has caused some of the current assumptions and claims to be incorrect. One of the famous copied Qur`an from the early 5th century AH is Mushaf al-Hāḑina; A Qur'an that was produced by Ali bin Ahmad al-Warrāq in 410 AH/ 1019 AD for Fatimah Hāḑina, the nanny of Moʿiz bin Bādīs in Kairouan, based on a note at the beginning of the manuscript. An endowment at the beginning of the manuscript tells about its dedication to the Great Mosque of Kairouan. More than 1300 leaves has been survived from the Qur`an and it seems to have had about 3200 leaves and was prepared in sixty volumes. This copy is famous among calligraphy historians due to its large size and especially its special script. The mentioned note leaves no doubt about the production of this manuscript in Kairouan, therefore, historians have called the style of its script Qirawānī. Nevertheless, geometry of the script and the design of the letters, has no resemblance to other common styles in the Western world of Islam. Most of the Qura`ns of Maghreb, which are known as Western Kufic, are written in a round and delicate pen, while the oblique angles and strokes, as well as the striking distinction between the strengths and weaknesses of the letters in are more common in Eastern Kufic scripts, especially The script of Ghaznavid Imperial Qura`ns. The vertical angle of some vocalization signs of the Qur`an as well as the proportions of its pages are very similar to Ghaznavid Qurans. In addition, the motifs of the illumination can be traced back in Eastern kufic Qurans such as the Quran copied by Ahmad bin Yāsīn al-Isfahani, dated 383 AH in Isfahan. In addition, there are variations in the handwriting and vocalization of the Quran, which indicates the collaboration of several artists in its preparation. As a result, according to these evidences, it seems that this manuscript was produced by several Iranian artists with the cooperation of at least one Moroccan artist, under the supervision of Ali bin Ahmad al-Waraq in Kairouan. It seems that the religious clashes between the Ismaʿilism and the Abbasid caliphs in the fourth century of Hijri in Iran, on the one hand, and the support of the Fatimid caliphs and early Zīrīds from the Ismaʿilism, caused the migration of some Iranian artists, believing in Ismaʿilism, to the Maghreb.}, keywords = {Mushaf al-Haḑina,Kairouan,Qur`an,Islamic Calligraphy,Kairouani script}, title_fa = {بازشناسی سنت‌های شرقی کتابت و تذهیب در مصحف حاضنه (مورخ 410ق،‌ قیروان)}, abstract_fa = {از سده‌های نخست هجری شمار بسیار کمی قرآن و نسخه خطی رقم‌دار به جا مانده است به همین علت، اطلاعات ما از هنرمندان و سبک‌های رایج در هر یک از مناطق جهان اسلام بسیار محدود مانده و باعث شده فرضیات و ادعاهای کنونی گاه نادرست شود. یکی از نسخه‌های مشهور و رقم‌دار اوایل سد‌ة پنجم هجری مصحف حاضنه است. این مصحف، قرآنی است که بر پایة یادداشتی در آغاز نسخه، علی بن احمد وراق، در سال 410ق برای فاطمه حاضنه، دایه معز بن بادیس در قیروان تهیه کرده است. وقف‌نامة آغاز نسخه از وقف آن بر مسجد جامع قیروان حکایت می‌کند. از این نسخه بیش از 1300 برگ باقی‌مانده است. به نظر می‌رسد این نسخه در اصل حدود 3200 برگ داشته و شصت‌پاره بوده است. این نسخه به سبب اندازه بزرگ و به ویژه سبک خطش در بین مورخان خوشنویسی و نسخه‌شناسان شهرت یافته است. یادداشت یادشده هیچ شکی در تولید این نسخه در قیروان باقی نمی‌گذراد از این رو مورخان سبک خط این نسخه را قیروانی خوانده‌اند. با این همه ساختار و طراحی حروف این قرآن هیچ شباهتی به دیگر سبک‌های رایج در مغرب جهان اسلان ندارد. خط بیشتر قرآن‌های مغرب، که به اقلام کوفی مغربی مشهورند،‌ به قلمی مستدیر و ظریف کتابت شده است. در حالی که زوایای مورب و حرکت‌های موکد و نیز تمایز چشمگیر میان نقاط قوت و ضعف قلم در مصحف حاضنه بیشتر به کوفی شرقی،‌ به ویژه خط قرآن‌های درباری غزنوی شباهت دارد. زاویه عمودی برخی از اعراب‌های این قرآن و همچنین تناسبات صفحه آن نیز سخت به قرآن‌های غزنوی شبیه است. به علاوه شیوه تذهیب این قرآن را می‌توان در قرآن‌های ایرانی مانند قرآن احمد بن یاسین اصفهانی، مورخ 383ق در اصفهان یافت. افزون بر این در دست­خط و شیوه اعراب­گذاری این قرآن یک‌دست نیست و این امر حاکی از همکاری چند هنرمند در تهیه آن است. در نتیجه با توجه به این شواهد به نظر می‌رسد این نسخه از سوی چند هنرمند ایرانی با همکاری حداقل یک هنرمند مغرب، زیر نظر علی بن احمد وراق در قیروان تولید شده است. به نظر می‌رسد زد و خوردهای مذهبی اسماعیلیان و خلفای عباسی در سدة چهارم هجری در ایران از یک سو و حمایت خلفای فاطمی و زیریان اولیه، از فرقه اسماعیلی سبب مهاجرت برخی از هنرمندان اسماعیلی زادة ایران به مغرب شده است.}, keywords_fa = {قرآن,مصحف حاضنه,خط قیروانی,قیروان,خوشنویسی اسلامی}, url = {http://vaa.journal.art.ac.ir/article_934.html}, eprint = {} } @article { author = {behdad, hamid and Javani, Asghar}, title = {Studying the Application of the Cedar Role of Theme in Shir –o- Shekaree (Milk & Sugar) Plastering of Buildings in Qajar Era of Yazd}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2021.3517.1580}, abstract = {Glory of interior architecture and variety of decorations is one of the architectural features of Qajar era to the extent that architecture of this era can be considered as the best sample of the connection between architecture and decoration. This feature is further manifested by the formation of a merchant class distinct from the market, at the top of its pyramid of power, prestige and wealth that were considered among the nobles of a city as a privileged class alongside clergy scientists and administrative agents. Presence of various decorations of mirror work, painting, tiling and plaster molding can be seen in the aristocratic buildings of this era such as the buildings of Yazd city. Yazd is a desert city where has a hot, dry and desert climate, due to its location on the edge of the desert. The special geographical location and the distance from the important administrative centers and consequently distance from the great crises and conflicts has led to some of the ancient monuments of past religions such as Mehr worship and Anahita worship that the people of the region adhered to it and continue it centuries before the Sassanid Zoroastrian religion . Today, Zoroastrians still perform their religious rites in the Zoroastrian districts and villages around Yazd, which are closely linked to elements from nature, such as soil, wind, fire and water. Cedar has a strong base than other species of this tree in Iranian literary and visual culture. The motif is especially in the method of common plastering in the Qajar era of this city, called Shir-o-Shekar, which has a thin plaster surface and creates tangible light shade.This motif can be seen in the architectural decorations of Yazd, with the least changes due to the time changes, in the form of brickwork, tiling, plaster molding, etc. Therefore, in this article, purpose was to enumerate the ritual and literary features of cypress in Iranian culture, to answer questions about how the revolution procedure of motif, the origin of concepts, variety and method of performing patterns, as well as how to form a role-centered set of roles same as Sarve Azad (free cypress), by a descriptive-analytical method and relying on available field and library resources. The result of this article revealed that the free cypress appears in three forms of cypress and mountain image, cypress grown in a vase and cypress with cow horn base in the plaster molding of Qajar buildings in Yazd, which one can see their connection with seals and pottery from the millennia BC to handicrafts and architectural decorations from recent eras. In these samples, decorative patterns, while adapting to carpet and tile patterns, are divided into two parts of calligraphy and Islamic. The foundation of Arabesque motifs in these specimens is plant motifs which have been combined with animal motifs in some samples. This study also showed that set of symbols that appear in a set of roles with a symbolic axis such as free cypress, are semantically related to each other}, keywords = {"sedar"."Plastering," "Architectural decorations","Qajar era"}, title_fa = {بررسی کاربرد نقش مایة سروآزاد در گچ بری های شیر و شکری ابنیة دورة قاجار یزد}, abstract_fa = {سرو آزاد در فرهنگ ادبی و تصویری ایران، از جایگاه اقناعی تری نسبت به گونه های دیگر این درخت همچون سرو ناز، سرو سهی و سرو خمیده، برخوردار است. این نقش مایه، در تزئینات معماری سنتی شهر یزد، به خصوص در شیوه ای از گچ بری های رایج در دورة قاجار این شهر، موسوم به شیر و شکری، که سطح گچ دارای ضخامت اندکی است، نمود چشمگیرتری دارد. لذا نگارندگان در این مقاله، هدف اصلی خود را بر شناخت اجزاء تزئینی این نقش مایه در گچ بری های مذکور متمرکز ساخته و کوشیده اند ضمن برشمردن ویژگی‌های آئینی و ادبی این درخت در فرهنگ ایران از منظر تاریخی، به سوالاتی پیرامون چگونگی روند تکامل، منشأ مفاهیم و تنوع این نقش مایه، با تکیه بر منابع میدانی و کتابخانه ای و به روش توصیفی- تحلیلی، پاسخ دهند. نتیجة این مقاله نشان داد، سرو آزاد به سه شکل سرو و انگارة کوه، سرو روییده از گلدان و سرو با هرم پایه شاخی، با مفهوم اصلی نگاهبانی و پاسداری در گچ بری های مذکور نمود می یابد، به گونه ای که می توان پیوستگی معنایی و تصویری آن ها را با نقوش مهر ها و سفال های هزاره های پیش از میلاد، تا صنایع دستی و تزئینات معماری ازمنة اخیر، مشاهده کرد. نقوش تزئینی در این نمونه ها، ضمن انطباق با نقوش قالی و کاشی، به سه دستة خط نگاره، نقوش گیاهی و حیوانی تقسیم می شوند. بنیاد نقوش در این نمونه ها اسلیمی است که با نقوش ختایی و حیوانی ترکیب شده اند.}, keywords_fa = {درخت سرو,گچ بری,تزئینات معماری,دورة قاجار}, url = {http://vaa.journal.art.ac.ir/article_935.html}, eprint = {} } @article { author = {Ghiasian, Mohamad Reza}, title = {The Evolution of the Portraiture of the Prophets in Persian Painting with an Emphasis to the Halo of Holiness (ca. 1250-1450)}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2021.3401.1552}, abstract = {The earliest surviving images of the prophets in Persian painting date back to the thirteenth century. This paper, which examines the portraiture of the prophets in the painting of the mid thirteenth century onwards, addresses the question of the distinction between the prophets and other peoples in the paintings. Finding the starting point of depiction of holiness halo and its evolution in Persian painting is also question of great significance. Considering the formal evolution, the visual examples of this epoch of two hundred years have been surveyed in four periods: thirteenth century to the early fourteenth century, form the Rab‘-i Rashidi to the end of the Ilkhanids, Jalayirids, and early Timurids. In the art of the thirteenth to the early fourteenth centuries, according to ancient traditions a disc halo was depicted around the heads of all humans (and sometimes even animals), and thus the prophets have no certain distinction with others. The difference between the Prophet Muhammad and other people in the paintings of this period is only in having two long tresses. It was during this period that, under the influence of Baghdad painting, prophets wear a certain garment called shamal, which later in the paintings of the Jami‘ al-tawarikh became one of the most important features of the portraiture of the prophets. In the second period, under the influence of Buddhist and Byzantine art, the holiness halo was formed. The earliest known example of the halo of holiness is the image of Moses in the Arabic copy of the Jami‘ al-tawarikh (dated 1314), which is drawn not in a circle but as the rays of the sun. Apparently the establishment of the aura of holiness took place in a copy of the Mi‘rajnama, which was produced for the last Ilkhanid ruler, Sultan Abu Sa‘id Bahadur. The images of the Mi‘rajnama, which were dedicated to the depiction of the heavens, provided an opportunity to enter the golden halo of holiness into the portraiture of the Prophet Muhammad. Although in the paintings of this manuscript the halo of holiness is depicted as a golden cloud around the head or the whole body of the Prophet, in the painting “Muhammad enters the seventh heaven” he has a flaming halo. This work can be considered as the earliest surviving example of drawing a flaming halo for the prophets in Persian painting, which has continued for several centuries. In the paintings of this manuscript, all the prophets have a flaming halo around their heads, but Muhammad, who is “The light of lights”, has a much bigger halo. During the Jalayirid era, a fiery halo, which had been emerged in one of the paintings of the Ilkhanid Mi‘rajnama and was rooted in Buddhist iconography, became prevalent. Finally in the early Timurid art, this fiery halo was followed more seriously and with more elaborate decorations.}, keywords = {Ilkhanid Art,Timurid Art,Jalayirid Art,Halo of Holiness,Portraiture of Prophets}, title_fa = {سیر تحول چهره‌نگاری پیامبران در نقاشی ایران با تاکید بر هالۀ تقدس (حدود 650-850 هـ ق)}, abstract_fa = {کهن ترین تصاویر به جا مانده از پیامبران در نقاشی ایران در نسخ خطی سدۀ هفتم / سیزدهم یافت می شوند که از نظر چهره نگاری تفاوت خاصی با اطرافیان خود ندارند . اما در سدۀ هشتم / چهاردهم قواعد خاصی برای ترسیم شمایل پیامبران به وجود آمد که مهم ترین آنها هالۀ تقدس است . این نوشتار به دنبال بررسی چهره نگاری پیامبران - به خصوص نحوۀ تکوین و تحول هالۀ تقدس - از نیمۀ سدۀ هفتم / سیزدهم تا حدود دویست سال بعد است. بنابراین، سئوال اصلی این تحقیق چنین است: ترسیم هالۀ تقدس برای پیامبران از چه زمانی آغاز شد و از نظر فرمی چه سیر تحولی را طی کرده است ؟ این مقاله با بهره گیری از مطالعۀ کتابخانه ای و نسخه شناختی، و به روش های توصیفی - تحلیلی و تاریخی انجام شده است. نتایج نشان می دهند که تا آغاز سدۀ هشتم هجری به پیروی از سنت های تصویری قدیم برای تمام چهره ها (حتی کافران) هالۀ دوّار زرین ترسیم می شد. در بسیاری از نقاشی های اجرا شده تحت حمایت اولجایتو و ابوسعید بهادر، پیامبران جامۀ خاصی به نام «شمل» پوشیده اند و در همین زمان بود که تحت تأثیر هنرهای بودایی و بیزانس هالۀ تقدس شکل می گیرد . در اواخر دورۀ ایلخانی برای اولین بار شاهد ترسیم هالۀ تقدس برای حضرت رسول(ص) هستیم که اغلب به صورت لکه های ابر است. در عصر جلایریان هالۀ شعله سان رواج می یابد که در هنر تیموری نیز با تزیینات پُرکارتر دنبال می شود.}, keywords_fa = {هنر ایلخانی,هنر تیموری,هنر جلایریان,هالۀ تقدس,چهره‌نگاری پیامبران}, url = {http://vaa.journal.art.ac.ir/article_936.html}, eprint = {} } @article { author = {sharifinia, akbar and Mobini, Mahtab}, title = {A study on the decorative motifs of relief pottery attributed to the Sassanid period}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2021.3339.1539}, abstract = {Pottery, as the most important archaeological find, has a very important role in describing and interpreting the cultures and civilizations of the past. According to researchers, pottery is a significant source for obtaining information about the reconstruction of human behavior in archaeological studies. One of the perspectives and approaches to the study of ancient pottery is to study the impact of cultural and non-cultural factors on pottery production. From this perspective, pottery is considered as a reflection of human cultural behaviors.Meanwhile, our knowledge of Sassanid period pottery, despite many excavations in various Sassanid regions, is very little. Among the reasons for this; The simple passing of the Sassanid layers in the excavations is the focus on other findings of this period and the lack of publication or incomplete publication of the pottery findings of the Sassanid sites. The pottery of the Sassanid period, like other periods, is known, among which one of the main characteristics of Sassanid pottery in this period. Among these, one of the main features of Sassanid pottery is its "locality" and their other feature is the remarkable stability of many forms and the existence of homogeneous forms of pottery in a wide area of the Sassanid territory, which according to The style and shape of the decoration are different from each other in different areas. In fact, in this period, the forms are almost identical with differences in the details of the cross-sectional shape, but what makes them "local style", in addition to their different technical characteristics, is the different decoration in each area. In this research, using a descriptive-analytical method, we study the relief pottery attributed to the Sassanid period that has been mentioned in various sources. So far, no comprehensive research has been done on the decorative motifs of such utensils, the meaning and content of their decorative motifs . Reflect some of the religious, political or social ideas of the time. The purpose of research is to classify the decorative motifs of such vessels, to obtain the meanings and themes of their decorative motifs and to discover the currents that affect the creation of such motifs. The results show that these pottery with human, animal, plant and geometric motifs and with a molded method, mostly express political, religious, military and sports narratives in human motifs and mythical and realistic meanings and themes in plant and Animal motifs. It should be said that the Sassanids in these pottery, using the mold method that has been used before in the Parthian period and being influenced by Chinese, Roman and Greek forms, have tried to repeat their attribution to the pre-Parthian period, the Achaemenids. In other words, these motifs show the continuity of ancient oriental motifs that were used during the Sassanid period.}, keywords = {relief pottery,Sassanid,decorative motifs,Chronology}, title_fa = {پژوهشی بر نقوش تزئینی سفال‌های نقش‌برجسته منتسب به دورۀ ساسانی}, abstract_fa = {یکی از یافته‌های مهم در کاوش‌های باستان‌شناسی در محوطه‌های ساسانی، سفال است . در این پژوهش برآنیم سفال‌های نقش‌برجسته منتسب به دورۀ ساسانی،که در منابع مختلف به آنها اشاره شده است را از نظر نقوش تزیینی آنها مورد مطالعه قرار دهیم. هدف از انجام چنین پژوهشی، گونه‌شناسی و طبقه‌بندی نقوش تزیینی از نظر شکلی و محتوایی و آشکارسازی میزان تاثیرپذیری از فرهنگ‌های گذشته و پیش از ساسانیان است. بر این اساس، سؤالات پژوهش عبارتند از؛1: نقوش تزئینی بکاررفته بر سفالینه‌های نقش‌برجستۀ مورد مطالعه چیست؟2: میزان تأثیرپذیری این نقوش تزیینی از فرهنگ‌های پیش از ساسانی چه میزان است؟ براساس نتایج پژوهش، نقوش تزیینی سفال‌های مورد مطالعه عبارتند از؛ نقوش انسانی، حیوانی، گیاهی و هندسی. این نقوش به روش قالبی، گاه در ترکیب با یکدیگر و گاه بصورت مستقل اجرا شده‌اند. به طورکلی در سفالینه‌هایی با نقوش انسانی، نقوش تزیینی، بیانگر روایاتی سیاسی، دینی، نظامی و ورزشی و در سفالینه‌های با نقوش گیاهی و حیوانی، نقوش تزیینی، بیانگر مضامین اساطیری و واقع‌گرا هستند. در برخی از سفالینه‌ها با نقوش انسانی، پیروی از هنر دوران هخامنشی و آشوری مشاهده می‌شود. باید گفت این نقوش بازگوکنندۀ روایاتی است که در آنها ساسانیان خود را وارثان امپراتوری هخامنشی معرفی نموده‌اند.}, keywords_fa = {سفال نقش‌برجسته,ساسانیان,نقوش تزیینی,گاهنگاری}, url = {http://vaa.journal.art.ac.ir/article_937.html}, eprint = {} } @article { author = {Olia, Masoud and Azimi, hossein}, title = {Bakhtin's aesthetics and its relation to the ontological status of man}, journal = {Journal of Visual and Applied Arts}, volume = {14}, number = {33}, pages = {-}, year = {2021}, publisher = {Tehran University of Art}, issn = {2717-1272}, eissn = {2717-1280}, doi = {10.30480/vaa.2020.2423.1373}, abstract = {Aesthetics is thought to be one of the most basic spheres of philosophy traditionally, and most of the great philosophers study it and write about it. But some of them have transcended aesthetics beyond its usual borders and have made it the core of the philosophy. In their view aesthetics, experience or act is one of the aspects of human being-in-the-world. They see aesthetics as an ontology, and try to treat it and artworks as ontological issues. German romantics, Nietzsche, Kierkegaard, are of the most important members of these philosophers. Works of Mikhail Bakhtin, Russian philosopher, and literary theorist, show that we can classify him among these philosophers. He has always been interested in aesthetic issues, both in his youth which he focused on existentialist issues, and in the later phase of his life which he focused on literary theory. In both of these phases, he also deals with ontological issues. He has almost always looked at ontological issues from an aesthetic point of view. Why? Is this a coincidence? If no, what are his reasons for this choice? Why does Bakhtin care so much about aesthetics? And how can he treat ontological issues aesthetically? In this article, we want to answer these questions. To reach this goal, we begin with his anthropology and show that in his view human lives in the world in a concrete condition. He explains this condition whit a physical term: 'chronotope', which means a matrix of place and time. Moreover, he used another important concept which borrowed from the law, 'non-alibi'. This concept in Bakhtins's thought means human does not have any cause or alibi for not-being-in-the-world. Bakhtin adds more features to them, one of these features is ‘eventness’ which means human never is ‘to-be’ rather always is ‘yet-to-be’ which means the human never finish before death. This is an annoying situation for humans. It is almost like the ‘Angst’ in Existentialist philosophies. His difference with them is that he examines this condition aesthetically. Moreover, for him or her person is very important. So he translates human concrete condition into author and hero relation. Other people can compose a hero and consummate him or her, but he can also, communicate to him or her and make him or her 'unfinished'. If another person consummate hero, he or she will get out of non-alibi status, which means he or she is not alive and real human anymore. If other people communicate with him or her, he or she will stay in non-alibi status, which is annoying for him or her. It is a conflict. Bakhtin try to solve it aesthetically. And in this article, we try to explain this try. To reach this goal, we use another Bakhtinian concept: Carnival. Bakhtin thinks medieval carnivals were some phenomena between life and art. Human in the carnival is never consummated but at the same time is free from any angst, because he has an alibi. In this article, we will show how Bakhtin can reach this conclusion.}, keywords = {existentialism,Ontology,aesthetics,Bakhtin,carnival}, title_fa = {زیبایی شناسی باختین و نسبت آن با وضعیت هستی شناختی انسان}, abstract_fa = {زیبایی‌شناسی به شکل سنتی یکی از سه حوزه‌ی مهم فلسفه پنداشته شده است. مجموعه‌ی آثار میخائیل باختین، فیلسوف و نظریه‌پرداز ادبی روس گواه آن است که برای او زیبایی‌شناسی در مرزهای معمول این حوزه از تفکر فلسفی باقی نمانده و به مسائلی وارد می‌شود که به طور معمول در چارچوب زیبایی ‌شناسی طبقه‌بندی نمی‌شوند. در این مقاله نشان می‌دهیم که باختین زیبایی‌ شناسی را به اصلی اساسی برای هرگونه فلسفه بدل می‌کند؛ فلسفه‌ای که ماهیتی چندصدا و گفتگویی دارد. از طرف دیگر یکی از ابعاد مهم اندیشه‌ی باختین، به ویژه در آثار اولیه‌اش، موضوعات اگزیستانسیال است. پرسش مرکزی ما در این مقاله این است که نسبت میان زیبایی‌شناسی و تفکر اگزیستانسیال چگونه است. مدلل خواهیم کرد که از قرار معلوم تعارض هستی‌شناختی انسان، که نزد فلاسفه‌ی مختلف اگزیستانسیالیست مطرح شده، برای باختین کیفیتی زیبایی ‌شناختی پیدا می‌کند. جالب آن که باختین در هر دو سوی این تعارض به «دیگری» می‌رسد. دو کنش مهم «تالیف» و «گفتگو» که هم در پیوند با دیگری هستند و هم زیبایی ‌شناختی، وضعیت هستی ‌شناختی انسان در نگاه باختین را توضیح می‌دهند. باختین در نهایت جانب گفتگو را می‌گیرد و انسان را به رویارویی با ژرف‌ترین تعارضات هستی‌شناختی‌اش فرا می‌خواند.}, keywords_fa = {اگزیستانسیالیسم,هستی شناسی,زیبایی شناسی,باختین,کارناوال}, url = {http://vaa.journal.art.ac.ir/article_938.html}, eprint = {} }