Original Article
Mitra Ghaffari; Amir Maziar; Nayer Tahoori
Abstract
Among the orientalists who researched Persian |Art in the Pahlavi period, Arthur Pope has a prominent position. In the first years of the 20th century, he organized several exhibitions and congresses in order to introduce Persian art and published numerous books, articles, exhibition catalogs and review ...
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Among the orientalists who researched Persian |Art in the Pahlavi period, Arthur Pope has a prominent position. In the first years of the 20th century, he organized several exhibitions and congresses in order to introduce Persian art and published numerous books, articles, exhibition catalogs and review texts. These activities of Pope were one of the most important factors that caused "Persian art" to be recognized as an independent branch of Islamic art. Although Pope's view of Persian art has been influenced by some previous approaches, including ethno-racial interpretations, it has completely distinct and unique characteristics that have not been accurately described and analyzed so far. In the shadow of a formalist approach that he adopted from the aesthetic theories of Roger Fry and Clive Bell, and by applying concepts such as pure form and the principle of loyalty to the purity of form, Pope achieved a novel perspective on Persian art. The special and remarkable features of Pope's point of view caused some of his most prominent contemporary art critics, including Meyer Schapiro and Ananda Coomaraswamy, to analyze and criticize it. The purpose of this research is to analyze and evaluate Pope's approach to the concept of "Persian art" by examining the criticisms raised on his theory of Persian art by Meyer Schapiro and Ananda Coomaraswamy. For this purpose, while introducing and analyzing Pope's view, Schapiro and Coomaraswamy's analysis and evaluation of it have also been analyzed. This research is a fundamental and theoretical research and the research method for this topic is descriptive-analytical. The method of collecting information in the present study was library research. The results obtained from this research indicate that the most important criticisms that Schapiro puts forward on Pope's point of view are the methodological problems in expressing the theory, considering this art to be superior without sufficient reasoning, the unjustified claim of clarity of Persian art, and the falsehood of the claim of the existence of decorative logic in this art. He also criticizes the formalistic view of the Pope and considers his racial tendencies to be incorrect. Coomaraswamy agrees with some of Schapiro's criticisms of Pope, including that Pope has tried to make Persian art appear beyond and more distinct from other arts without providing sufficient reasons. At the same time, he is completely against reducing the fundamental features of Persian art to the ancient style. On the other hand, Schapiro also believes that Pope replaced quality-based judgment with style-based interpretations and failed to connect art history with social history. Confirming Pope's view based on his own traditionalist approach, Coomaraswamy states that the "Persian spirit" has been the unifying factor of artistic approaches and aesthetic perception that has shaped the art of the people of this land beyond all historical periods; People who are natural decorators and artists, have achieved "pure form" in a non-historical way.
Original Article
ALIREZA TAHERI
Abstract
Throughout different periods, belief in the miracles of the prophets and the relics left by them has been very common. The sandals of the Prophet (PBUH) have also been noticed by Muslims. In their belief, their sandals could be used as a sacred object to help solve suffering or heal the sick. The image ...
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Throughout different periods, belief in the miracles of the prophets and the relics left by them has been very common. The sandals of the Prophet (PBUH) have also been noticed by Muslims. In their belief, their sandals could be used as a sacred object to help solve suffering or heal the sick. The image of the Prophet’s sandals in Islamic works has been published and has appeared along with prayers, poems and descriptions of the virtues of the Prophet (PBUH). The questions are: How did the image of the Prophet (PBUH)'s sandals become sacred symbols? What are the visual features of these sandals? Many versions have been depicted in connection with the Prophet (PBUH)'s sandals, their repetition and reproduction over the centuries and their various miraculous functions have made them a sacred symbol. Certain concepts have been attributed to the image of the Prophet (PBUH)'s sandals: repelling calamities and sufferings, attracting charity and blessings, healing, worldly and otherworldly happiness, forgiveness of sins, etc., which confirm its sanctity and miracle. In appearance, we can also identify a sequential and evolutionary trend, from simple icons to complex and luxurious methods among them. The research method is descriptive-analytical and the method of collecting information is done through books. The books of Sira and Shamail, and the books of traditions, provide detailed information about the sandals that the Prophet (PBUH) wore. Belief in the sanctity of sandals is not only common among the general public, but some rulers have sought their support and assistance in times of crisis. In terms of iconograohy and appearance, it is possible to summarize and, based on the illustration of its types, a sequential and evolutionary process, from simple icons to complex and luxurious methods: simple linear design; Simple sidebar lines; wide side lines decorated with floral motifs or calligraphic inscriptions; with or without leather straps; the inner surface is covered with intricate plant ornaments and calligraphic inscriptions; use of abstract symbols of sacred objects or buildings such as: Kaaba, Prophet's Mosque, Ibrahim's mausoleum, pulpit of the Prophet (PBUH), etc. The feeling of the symbolic miraculous power of the Prophet's (PBUH) sandals, along with other sacred symbols such as: his robe, shoulder, rosary, shoes or sword, was more evident. In general, it can be said that sandals, as relics of the Prophet (PBUH), embody his constant presence. This is a deep spiritual connection between the believer and the Prophet (PBUH) to whom these sandals once belonged. Sandals are also sacred, a place for individual and collective memory, and a reminder of the memories they carried with them. Sacred objects are part of historical memory. The use of sacred relics by medieval Muslims focused the remembrance of the saints' memories on sacred objects, thus giving them a deep meaning and building respect for them. The outline of the role of the sandals is further summarized and serves as a sacred symbol of blessing and healing, and sometimes includes the role of amulets and calamities.
Original Article
Neda Taheri Boshrooyeh; Behnam Kamrani
Abstract
Music, as an unattainable auditory realm, which provides many opportunities for the flight of imagination, has always had an inherent attraction that has called many artists to conquer. Due to the absence of material in formation, music is interpreted as the art without place, which is fluid and flows ...
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Music, as an unattainable auditory realm, which provides many opportunities for the flight of imagination, has always had an inherent attraction that has called many artists to conquer. Due to the absence of material in formation, music is interpreted as the art without place, which is fluid and flows in the mind. The proximity of the image to the music can leads the thought to a kind of objectification of the concepts behind the works of music. In the current research, we will study the influential elements of music that have been able to enter the image world, and play a similar role in the image as in the piece of music.Musical elements such as sound, color, rhythm and harmony, which can be analyzed in comparison with visual index elements such as line, color, rhythm and composition. In this research, eight images from the collection of Rackham's illustrations for Ring Opera have been selected and analyzed.In this paper, considering the characteristics of Wagner's music in Ring opera, and studying the characteristics of Rackham's illustrations, using a descriptive-analytical method in this mutual search, we try to understand the extent of Rackham's influence from musical space, and to establish a connection between these two fields.Studying the features of Rackham's illustration as an English illustrator of the Victorian era shows us the face of a person who uses different styles in his illustrations. He is best known for his detailed illustrations depicting the mystical world of fantasy and fairy tales.By studying Rackham's worksو we feel a suspension between the material and magical worlds. How to use line as rotating shapes influenced by Art Nouveau, Soft and delicate coloring in close-up spectra is similar to Japanese prints. Abstract representation of nature and the characteristic of animism in trees has added grotesque aspect to the images.Wagner's works and his musical drama have many visual aspects too. The influence of music can be considered in the following aspects in Rackham’s work: The rhythmic and wavy representation of the lines reflects the musical characteristic of the images. Also, the change in the thickness of the lines, which causes heaviness and lightness, is similar to the sound energy, which can be understood in different instruments. Continuous lines are reminiscent of Wagner’s long sentences with no cadence . Gradual changes between colors demonstrate the chromatic intervals in the music. The power and quality of the lines are portrayed as the high intensity of the sounds and the strong dynamics of the music. The sense of musical movement is evident in the inherent nature of Rackham's lines. By using lines, Rackham distances himself from the actual display of volumes, and becomes more akin with the abstraction of music. But Rackham, in the face of the greatness of Wagner's music, has acted fantastically and has become more decorative than psychological. And this is partly due to his lack of understanding of the music space and inability to deal with his sense of fantasy and personal view.
Original Article
Nadia Aliani; Kouros Samanian
Abstract
AbstractExisting approaches in the Conservation of historical-artifacts and the formation of the ethics and theorical methods of conservation, in Its most fundamental aspect considers the two basic elements of "Work of art " and "Identifier ". The purpose of this article, which has been prepared by using ...
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AbstractExisting approaches in the Conservation of historical-artifacts and the formation of the ethics and theorical methods of conservation, in Its most fundamental aspect considers the two basic elements of "Work of art " and "Identifier ". The purpose of this article, which has been prepared by using the descriptive and analytical method, is to pay attention to the effect of the researcher's interpretation of the artifacts and its results. Also, that part of conservation that oversees the acceptance of subject-oriented interventions in works of art has been investigated. In this regard, present research examined, the way restorer gives meaning to the work of art and also the importance of the individuality of the restorer as an identifier of the artifact and a surveys new ideas in the philosophy and psychology of art, in order to review the ethics of restoration.In this regard, this article looks at the concept of audience-centeredness in hermeneutics and examines related theories in the field of restoration. Then, by knowing the impact of cognitive components of the mind on art conservation, and by using those scientific theories that have been proposed and tested in the field of psychology of art, also by referring to the theories of Erwin Panofsky and Chatterjee, this article has concluded that by accepting individuality as One of the most effective elements in restoration, it is necessary to review the function of what has been established as restoration ethics in conservation rules and charters. In the same way, audience-oriented restoration, in which the audience's purpose of visiting and the way of giving meaning to the works are taken into consideration, should enter the field of restoration in our country. The fundacion of any act of restoration and conservation can be found in two components: the restorer (recognizer) or subject and the work of art (object or subject of recognition). The attitude that governs restoration ethics in the classical way, emphasizes on concepts such as authenticity and substance on the one hand, and the characteristics of the creator of the work or the author, on the other hand and also considers the artwork as a reference for restoration decisions,. and for this reason it is different, from the New ethics and manners, which emphasize the central role and strong impact of the audience in meaning making with art and the final interpretation leading to the restoration of the work of art,.Although a number of defining titles in the restoration of works of art, such as judgment, , meaning,making, perception and etc., are common among classical and modern theories of restoration, but there is a opposition of attention to the qualities of the material of the artwork against the quality of the mind of the perceiver. , therefore that is the essence which causes the formation of traditional and new views in restoration theories.
Original Article
Bahman Taherian; Esmael Bani Ardalan
Abstract
The paint stain(pan) is an analytical instrument in Didi-Huberman`s theory of image. that is ignored as a defect in the image in some approaches like structuralist semiology and Panofsky`s iconography, whereas in the experience of the artist-spectator, one as the producer of the artwork and the other ...
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The paint stain(pan) is an analytical instrument in Didi-Huberman`s theory of image. that is ignored as a defect in the image in some approaches like structuralist semiology and Panofsky`s iconography, whereas in the experience of the artist-spectator, one as the producer of the artwork and the other as its viewer, it has an important status, but with an academic juggle becomes invisible. positivist approaches presuppose certain meaning for painting, whereby the hermeneutics trait of stains will lost.To interpret the stains and details of the image that are ignored in positivist art history, Didi-Huberman proposes new aesthetics called "Aesthetics of the symptom" based on Freud's theories instead of Kant's theories. The Aesthetics of the symptom is based on sovereign accident in painting, it means there are some forces that hinder procedure of painting, like conflict between material cause and formal cause. This conflict is like conflict between “ego” and “id” in Freud`s theories but simultaneously is different because in Freud`s theories symptom is a clinical concept but disguised to critical concept in Didi-Huberman`s theories. This transformation takes Didi-Huberman`s theories out from pure psychoanalysis. By referenting to “Unknown Masterpiece” from Honore de Balzac and its protagonist tragic destiny and connect it with concept of symptom and concept of pan, Didi-Huberman makes a strong structure to critc theory of mimesis.Another issue that Didi-Huberman criticizes is positivist art history, in his article: “The art of not describing: vermeer – the detail and the patch” which he writes opposite of Svetlana Alper`s book,” The Art of Describing: Dutch Art in the Seventeenth Century”, he pursues his goals. Didi-Huberman emphasizes on phenomenological effect of patches but simultaneously he wants to say these phenomenological effects have a real signifying structure in their behind, this concealed signifying structure is very important to understand the concept of symptom and its relation with the concept of the pan because this relation makes a connection between semiotics and phenomenology in Didi-Huberman's theories. This moving between semiotics and phenomenology is vital for destroying connection between signifier and signified or between sign and meaning. Also, like the Lacanian subject that split between two impossible choices, moving between opposite fields splits Didi-Huberman`s subject between “seeing” and “knowing” whereby something is lost in each case, so dialectic between seeing and knowing that Didi-Huberman configuration, is not Hegelian dialectic because there is no any synthesis. Finally, this article represents new approache to this part of painting through an analysis of two paintings of Mohassess such as "Fifi Howls from the Happiness"[Fifi Az Khoshhali Zuze Mikeshad] and "The Fall of Ikar"[Soghute Ikar] by presuming painting as a non-determined meaning case, with an analytical-descriptive approach and relying on library sources for clarifying the phenomenological importance of stain as the material cause of painting, according to Didi-Huberman's theory.
Original Article
Alireza Sheikhi
Abstract
The historical houses of Riab-a village 7 kilometers from Gonabad- have remarkable architectural decorations. These palaces were built by Agha Seyed Alinqi and his descendants, left over from the Qajar period. He and his descendants were among the educated and good people of the city and had a generous ...
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The historical houses of Riab-a village 7 kilometers from Gonabad- have remarkable architectural decorations. These palaces were built by Agha Seyed Alinqi and his descendants, left over from the Qajar period. He and his descendants were among the educated and good people of the city and had a generous hand in doing good deeds. The purpose of the writing is to recognize and mythological analysis of architectural decorations in twelve historical monuments of the village. Therefore, it is looking for an answer to the question of what decorations are included in the historical buildings of Riab and what is the hidden thought in these motifs based on the mythological analysis of Georges Dumzil? The research method is fundamental in terms of its purpose and descriptive and analytical in terms of its nature and method, collecting information, library and especially in the field, including collection, photography and interviews with experts and informants. The findings show that the greenhouses were built with organic materials, especially mud and straw, and were placed in the qibla. The decorations of the salons are very simple and concise; At the same time, they have greatness. These motifs can be examined and paid attention to according to the thought, belief and belief of the people of the dynasty who believed in the Nematullahi method of Sultan Alishahi. Shahriari's thought is manifested in the form of Taj, whose leader has been introduced as Qutb al-Avatad, Sultan al-Arifin and Qibla al-Salkin. Also, he was one of the good and righteous people of Gonabad who practiced truth and righteousness. On the other hand, they supported the people of the region in warfare and defense due to the looting of the Turks, droughts and constant famines, and in a way they gave them security by building a tower and rampart in the village of Riab. On the other hand, Desgar, one of his descendants who were doctors, are considered to be the helpers of the people. What has been noticed more than before is the approach of production and economy, which is manifested in cedar. This lineage has worked in agriculture and economics so that Qavam al-Din, known as Qavam al-Tajjar, was one of the prominent merchants in Tsarist Russia at the time. On the other hand, according to the order of the poor, his hands have been very generous in charitable matters such as endowment, especially water. The effort to improve the village and in general in the canals of Gonabad has practically brought suitable agricultural conditions to the people of this region who can be considered as representatives of the common class. Drought, famine, incurable diseases such as plague; Everyone confirms that they have spent their time believing in helping to create this border.
Original Article
Amirhosein Golpour navidehinezhad; Mohammad Khodadadi motarjemzadeh; Mohammad Hoseini markhali
Abstract
albums, as a form of social representation, are influenced by the ongoing political, social, and cultural changes in each country and region, portraying these transformations in various ways through images. By studying wedding photo albums, one can gain insight into many social developments within the ...
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albums, as a form of social representation, are influenced by the ongoing political, social, and cultural changes in each country and region, portraying these transformations in various ways through images. By studying wedding photo albums, one can gain insight into many social developments within the realm of visual culture. This research, based on the study of wedding photo albums of middle-class Gilani families from 1980 to 2021, explores the relationship between weddings and photography from a sociological perspective, drawing upon Erving Goffman's theory of self-presentation in everyday life.Through data analysis of 12 wedding photo albums, three key cultural transformations in wedding photography were identified:First, documentary wedding photography, from 1980 to the mid-2000s, where the photographer is an observer, And interference to change the meaning of the ceremony and identity is not seen in the photos.The photographer faithfully looks at the ceremony in the designated environment, even outside the ceremony, the photographer is indifferent to the changes that can be made. However, photographic curiosities can be found in the albums, such as photos of informal scenes as well as behind-the-scenes images of weddings where relatives are busy cooking the wedding dinner. One of the consequences of the documentary approach in wedding photography is the photography of wedding rituals that can be found in albums. For this reason, we see unusual images such as acts of misunderstanding and even entering the hidden parts of the ceremony and behind the scenes.Second, illustrative wedding photography, covering the period from the mid-2000s to the late 2010s, with studio photographers playing a more prominent role. During this period, we observe imagery in the sense of abundant visual effects. with the introduction of the digital system in photography, effects (effects, effects) and montages that depict the position of the bride and groom in an imaginary world are becoming more widespread. In this period, we see visualization in the sense of many visual effects. also, regarding the makeup of the bride's face, in this period of time, thick makeup is discussed at the level of fashion magazines and cosmetics advertisements. Getting out of the official space of the wedding ceremony and recording part of the action in the space outside the celebration environment can be seen as the beginning of using natural scenery and finding the right placeThird, Staged wedding photography, accompanied by clichéd metaphors, encompasses the period from the early 2010s to the early 2021s. This method became popular as a ritual in wedding ceremonies. As mentioned earlier, the increase in the use of natural landscapes and finding ideal spaces can be seen in the 2010s. In the wedding photo frame of this decade, there is no trace of the image of others, even the bride and groom have drawn themselves in the awe of unattainable heroism by taking ideal and mythical poses
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