Original Article
Hanif Rahimi Pordanjani
Abstract
For the first time, Qazwini and Bouvat published "Two unpublished documents related to Behzād" in 1914/1298 in Revue Du Monde Musulman, based on a copy of Nāmeh Nāmī in the National Library of Paris, one of which introduced as the preface to Behzād’s Album. Since then, many scholars have taken ...
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For the first time, Qazwini and Bouvat published "Two unpublished documents related to Behzād" in 1914/1298 in Revue Du Monde Musulman, based on a copy of Nāmeh Nāmī in the National Library of Paris, one of which introduced as the preface to Behzād’s Album. Since then, many scholars have taken this issue for granted and referred to it as the preface of Behzād’s Album. Mohammad Taghī Dāneshpajooh was the first and only scholar who, according to Sām Mīrzā in the Tohfe Sāmī, considered the author of the text as Amīr Sūltān Ibrahīm Amīnī. After that, controversy arose among scholars over whether the text belonged to Khwāndamīr or Amīnī, but no one questioned the nature of the text itself or whether it was a preface. Therefore, the main issue of the present study is who is the author of the preface of Behzād’s Album? But before answering it, this question must be answered whether the text in Nāmeh Nāmī is a preface or not. The purpose of this study is to critique the historical texts of Persian art and the method of research is content analysis method. In order to give a logical and reasoned answer to the research question the researcher tried to examine the course of publishing the text as a preface and then analyzing its content and structure. The research findings focus on the content and structure of the text. In discussing the content, the title of the text was considered, which it seems that researchers have not paid attention to so far. Because the title states that this text is a description of the album, not the preface of the album. The next issue is the existence of a quatrain at the beginning of the text, which indicates that this text belongs to the reader. The text also mentions the list of artists in the preface of the album, which is another reason why the preface of the album was another text. The same text written by Ebrāhīm Amīnī and referred to by Sam Mirza. In the discussion of the structure of the text, its structure was matched with the structure of the prefaces before and after the text, and it was found that the text of Khwāndamīr lacks any Praise of God, Prophet and eulogy of Sūltān or Prince, list of artists, and conclusion. So the content and the structure of the text is not match with those common of a Preface of an Album. The results show that the text called the preface of Behzād’s Album is not a preface and is only a description of Behzād's Album by Khwāndamīr. Therefore, according to Sām Mīrzā’s report, the preface of Behzād’s Album was written by Amīnī, which its fate along with the Album aren’t known.
Original Article
sepehr danesh eshraghi; mohammad reza moridi; amir maziar
Abstract
What is political art and how can art be political? Dealing with political art has always been a contentious issue because the prevalent notions of these two areas have made it difficult to determine a specific relationship; studying such a situation requires rethinking of concepts; by rethinking Jacques ...
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What is political art and how can art be political? Dealing with political art has always been a contentious issue because the prevalent notions of these two areas have made it difficult to determine a specific relationship; studying such a situation requires rethinking of concepts; by rethinking Jacques Rancière's thoughts, the concepts of “Politics” and “Aesthetic Art” will be reconsidered; this will help us open our way to answer what the political art is.Jacques Rancière's particular approach to both the arts and politics conqueror is the way for this research. Rancière considers the work of art to be a special distribution of time and space. In his view, the work of art has a complex connection with the common and the sensible. He believes that art and politics, as two separate but intertwined spaces, are shaping “the distribution of the sensible” and the common.In this article, by examining the concept of “Dissensus” in Jacques Rancière's thought, its redefines the concept of political art and shows that art is not political because it conveys a political message. A work of art by break from the usual experience, it forms a special function; a function that forms a form of “Dissensus”. The relationship between art and politics, as well as the relationship between art and society, must be understood in terms of “Dissensus” forms, not the political message or the subject that the work of art conveys. A work of art can release everything from previous status within the framework of “Dissensus” on its meaning or function. As a result, art is not political in that it is a direct protest or reaction to the events of society; on the contrary, the politics of art is in breaking down fixed contractual meanings and creating new meanings and relationships between things. Art and politics both represent forms of “Dissensus” Both of them, as two separate but intertwined spaces, are shaping the “distribution of the tangible” and the common; From this perspective, it is possible to reflect on the political intervention of artists, and what the arts offer to society is a change in physical positions and movements, theological functions, the division of visible and invisible things. A work of art can shape the space of society. Through a reshaping of the senses, the work of art affects everything that can be seen, heard, said, and even thought. In other words, artistic activities affect the way things are done, the forms of visibility, and the state of things in society. By redistributing the sensible the works of art influence the division of public space, the actions taken, and the type of participation in society. Through the work of art, the artist can deconstruct the superficial layers of social discourses and decipher them by revealing the state of things.
Original Article
kamran paknejad; Iraj Dadashi; Morteza Babakmoin; amir maziar
Abstract
All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic ...
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All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art.Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics. Thus, the four patterns of the tensive process are also visible in the process of aesthetic perception. Analyzing these patterns in sacred architecture, minimal art, gallery art architecture, and the application of music in cinema, we examined the conformity of these patterns. By analyzing all the above-mentioned features presented in the text, it can be concluded that the aesthetic element of the form in works of art is also a type of sign system and can be well analyzed by classical and modern semiotic research methods. It should be pointed out that this research is an analytic-descriptive study.All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art. Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics.
Original Article
sara sadeghi; ARDESHIR JAVANMARDZADEH; farzad fyzi; saeed rahimi
Abstract
Shamanism is one of the ancient techniques of ecstasy and mystical journeys in the cultures of different eras, which focuses on the character of the shaman. This religion can be studied from the perspectives of psychology, sociology or ethnography. In the following research, the reflection of the basic ...
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Shamanism is one of the ancient techniques of ecstasy and mystical journeys in the cultures of different eras, which focuses on the character of the shaman. This religion can be studied from the perspectives of psychology, sociology or ethnography. In the following research, the reflection of the basic forms of this ritual in the images of the newly discovered golden lithographs of Kurdistan is examined and analyzed. Research on shamanism covers most theoretical areas, and the study of its reflection on the arts in general and lithographs in particular is lacking. The research questions are: 1. What is the nature of Qorveh's golden motifs and what does it have to do with shamanism? 2. What period does the time period for paying for the designs belong to? The research method is descriptive-analytical and historical and the evidence has been collected in the field and completed using library information. The results show that among the scenes of newly discovered motifs in the study area, motifs such as dancing human beings, mountain goats in ascending position, human motifs whipping in order to dominate the hunting spirit and geometric motifs such as wheels, reflections and manifestations of Early shamanism is in gold lithographs. By comparing the motifs of Zarrineh lithographs in terms of style, technique and themes used with rock motifs of other regions, especially the areas around the Iranian plateau and beyond, the second millennium BC can be suggested for its history. The results of this study cast doubt on theories based on the randomness and incomprehensibility of rock designs. The results of this study cast doubt on theories based on the randomness and incomprehensibility of rock designs. ctions and manifestations of Early shamanism is in gold lithographs. By comparing the motifs of Zarrineh lithographs in terms of style, technique and themes used with rock motifs of other regions, especially the areas around the Iranian plateau and beyond, the second millennium BC can be suggested for its history. The results of this study cast doubt on theories based on the randomness and incomprehensibility of rock designs. ctions and manifestations of Early shamanism is in gold lithographs. By comparing the motifs of Zarrineh lithographs in terms of style, technique and themes used with rock motifs of other regions, especially the areas around the Iranian plateau and beyond, the second millennium BC can be suggested for its history. The results of this study cast doubt on theories based on the randomness and incomprehensibility of rock designs. ctions and manifestations of Early shamanism is in gold lithographs. By comparing the motifs of Zarrineh lithographs in terms of style, technique and themes used with rock motifs of other regions, especially the areas around the Iranian plateau and beyond, the second millennium BC can be suggested for its history. The results of this study cast doubt on theories based on the randomness and incomprehensibility of rock designs.
Original Article
maryam fadaei tehrani; Ahmad Nedaei fard; Mehrangiz Peyvastegar
Abstract
In museums, any influence is made by the interaction of objects, and new themes and forms of drama are one of the most important ways to strengthen emotions with the aim of changing social behaviors, which is called empathy.Empathy is one of the most important skills that can be strengthened in the human ...
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In museums, any influence is made by the interaction of objects, and new themes and forms of drama are one of the most important ways to strengthen emotions with the aim of changing social behaviors, which is called empathy.Empathy is one of the most important skills that can be strengthened in the human environment with the tools of narration and in a mental physiological process.One of these environments is the Museum of Empathy, which provides an experience for people to engage with the problems of society on an emotional level.The purpose of this article is to introduce empathy as a human ability to achieve the social goals of the museum.It is also the recognition of the elements that play an effective role in the behavioral changes of individuals in the path of empiricism with the object.The theoretical approach is simulation with another and the research method is descriptive-analytical based on case study.And data collection is done through the library and the site of the Museum of Empathy.Article queries include the following:How do museum objects enhance empathy?How does empathy in a museum change social behaviors?The results of this article show that the physical and theatrical forms of objects do not create a reaction alone, but the emotional-cognitive relationship between the person and the object that plays an effective role in changing social behaviors due to empathy.From the beginning of the museum until now, there have been different definitions of the tasks of museums, the most important of which is now based on social influence. According to George Hein, the three main purposes of museums include; Education is the experience of the aesthetics of objects, the social influences of which; The issue of social impact is more important.Community issues; It has always been considered by museums and its history dates back to the 19th century.Because artists have always tried to change the various styles and methods of production and performance, it has caused emotional sensory stimulation of human beings in order to have the greatest impact on conveying the message of works and objects.In the past, any influence at different levels of museums was done using simple texts and theatrical strategies, and the central object was more important until entering the contemporary world, new opportunities were provided for empiricism with objects and helped museums with a variety of subjects. Demonstrate past communication methods and take big steps to address the issues and problems of society.One of these museums is the Museum of Empathy, which seeks to help people find the conceptual content of an object (shoe) that seeks to change social behaviors by engaging them in an intellectual process. So far, various issues have been raised in relation to objects, audiences, museums, and revisions of the tasks and expectations of museums, which are all a result of the changing perspective of society and the artistic taste of artists in producing works and displaying objects.
Original Article
aboulfazl abdollahie fard; zeinab niknasab
Abstract
One of the outstanding Iranian painting schools is Safavid Tabriz School represented by a prominent artist such as Sultan Mohammad. Sultan Mohammad, an Iranian painter active in the tenth century hejri qamari (first half of the sixteenth century milady) is one of the most prominent masters of the founding ...
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One of the outstanding Iranian painting schools is Safavid Tabriz School represented by a prominent artist such as Sultan Mohammad. Sultan Mohammad, an Iranian painter active in the tenth century hejri qamari (first half of the sixteenth century milady) is one of the most prominent masters of the founding of the second school of Tabriz, who has taken a great step in advancing and promoting the art of painting and has reached its highest level. He was unique among other masters of Tabriz in terms of imagination and skill in complex compositions, clever coordination of colors and measured details. He was inspired by nature and the surrounding space in creating his works and the elements of nature around him. By the power of imagination, genius and unique visual language, he has taken a great step in promoting the art of painting and cloud drawing as one of the seven principles of Iranian painting perfected in his works. Sultan Mohammad has worked creatively and purposefully on the subject of cloud drawing. Cloud has concepts in harmony with the composition and subject matter of the painting in his works which necessitates a more careful examination of his cloud drawing. Sometimes, depending on the artist's creativity and in harmony with the subject of the story, they take on special effects or are seen in a special and different way, and in some cases in harmony with The elements and other motifs of the image help to understand the meaning and concept of the story. The aim of this article is to study the style of Sultan-Mohammad cloud making in his ten e works while introducing his innovative aspects and masterful innovations in this field to examine the form and concept of cloud in these works. Accordingly, the following questions are arisen: 1) How is the cloud depicted in the works of Sultan-Muhammad? 2) What are the innovations of Sultan Mohammad's style of painting as an innovative artist? The research method is descriptive-analytical and the data collection method is documentary.Findings indicate that in the subject of cloud and cloud-making, Sultan Mohammad was creative and implemented the most beautiful forms. In his paintings, he has considered the unity and solidarity in the cloud and clearly used Islamic-clouds which induces a sense of dynamism and fluidity in the cloud. Sultan-Mohammad clouds are close to the general shape of the dragon's body and evoke the twisting of the dragon's body in the mind. He has used cryptic symbols and according to their visual power, which indicates his genius. In one of these works, he has employed two symbols of the dragon and Simorgh, in the form of a cloud to show the concept of the opposition between good and evil.
