Document Type : Original Article
Authors
1 Ph.D. in Philosophy of Art at Department of Law, Theology and Political Sciences, Science and Research Branch, Islamic Azad University, Tehran, Iran
2 Assistant Professor at Department of Philosophy, Faculty of Humanities, Islamic Azad University, North Tehran Branch, Tehran, Iran
3 Assistant Professor at Department of Law, Theology and Political Sciences, Science and Research Branch, Islamic Azad University, Tehran, Iran
Abstract
Phenomenology has been one of the most important and influential movements in the philosophy of 20th Century. This movement, which is an exclusive theoretical and practical approach to the phenomena in multiple branches, in the philosophy of Edmund Husserl, called classical or transcendental phenomenology, introduced a method of defining how to give a meaning of the universe in the consciousness and consistency of such a conception in mind; whereas phenomenology in the view of his genius former pupil: Martin Heidegger, another great German philosopher who was not fully committed to him, got shaped in a hermeneutic form (and so called “Hermeneutic Phenomenology”), in such a way of disclosure of existence (for any unique human being; from the beginning of history and all the time and places): Aletheia; the meaning of truth in ancient Greek belief, which Heidegger referred to it. Developing such an idea in analyzing works of art, in fact visual arts such as painting and architecture, Heidegger showed how a work of art can set up a world and how to disclose existence, a process called “Hermeneutic Phenomenology of Art”. However, philosophers and exporters in this philosophical topic, has extensively regarded historical and theoretical parts of phenomenology, but not the practical part, which pays attention to a concrete work of art, as the intended phenomena. The present essay introduces a new interpretation of a famous painting as a case study, chosen from the history of Iranian traditional painting, belongs to Tabriz from the era of Safavid period, in the title of “Fereydoun as a dragon, tests his sons” in such a sample of hermeneutic look of Heidegger to the “shoes” painting by: Vincent van Gogh, in the book of “The Origin of the Work of Art” in the middle of 20th Century, which belongs to the second period of Heidegger's philosophical work, wherein opposite to the earliest period, he was fascinated by art works. The ultimate conclusion can then give a method of interpreting and self-reading all kinds of paintings, regardless of the intention of the artist and the grounds (specified time and place) of the creation of the work of art (painting, in this topic), introducing a way how to set up funds of a world of any human being. And finally in this article, the concept of “Unworld”, which has been procreated from the concept of Heidegger’s famous term: “world” in it’s different meaning, is resulting from the conditions of the disclosure of existence, when the world is not in the mood that it has to be, and has been consolidated in the process of the intended painting’s hermeneutic phenomenology, and beyond that: in other works of art, based on the dasein’s situation in the world.
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