امیر نصری

By focusing on sensory experience in Aesthetics, which is not always associated with positive feelings, Arnold Berleant analyzes the question of why and how Aesthetic values are negative, so that the scope of Aesthetics goes beyond "Beauty" and its application in the field of art. And because Aesthetics is an experimental thing for Breleant, in order to open up this domain, he does not categorize the Aesthetic moods (positive and negative) and deals with identifying the Aesthetic moods. Therefore, Brerleant names sensory experiences that do not have a positive value as the "underside of beauty". By introducing the characteristics of negative criticism in the field of art, Brerleant reveals the extent of negative Aesthetics and its various forms in relation to art criticism. One of these types is what is commonly called "Bad Taste". By explaining the relationship between ethics and negative Aesthetics, the possibility of social and moral evaluation of artistic objects and environmental pollution is presented to the audience, and by passing positive Aesthetics, a new topic under the title "negative Aesthetics beyond art" is provided for study.

In Confessions, Rousseau is looking for his representation with all its true and natural characteristics. He claims that his true and natural self can only be understood by considering the chain of his feelings, understanding the origin of these feelings and distinguishing between them in terms of being genuine or inauthentic. Rousseau leaves the conclusion about who he is to the readers in order to clear the charge of deception and self-deception. . In addition, Rousseau believes that the only valid reading is for readers to pay attention to the chain of his feelings instead of the chain of events. In this article, by using Ricoeur's analysis of the structure and design of the narrative, the narrative identity and the art of Aristotle's poetry, it is determined that the events in Confessions are configured in the form of discordant harmony and the genre of tragedy. This narrative structure imposes a form of reading on the reader that is different from Rousseau's intended reading. In the sense that based on Ricoeur's analysis of narrative identity, Rousseau's character is formed for the audience of Confessions based on the chain of narrative events and not based on the chain of Rousseau's feelings.

Arthur Danto in order to achieve the definition of art, while rejecting previous views and clearly opposing the essentialism of the concept of art, seeks a new explanation in challenging contemporary artworks with a completely different view. By turning away from Kant's point of view, which dominated the theories of art until the middle of the 20th century, he bases his theory under the influence of Hegel and based on the historical context of the process of transfiguration of the ordinary object to an artwork. Based on this, a historical, cultural, and social context is necessary for the objects to acquire the legitimacy of being an artwork. From his point of view, a new narrative of an ordinary thing emerges through the artist's way of looking at the ordinary thing (in the historical context) and the way he presents it, and he transforms it into an embodied concept and meaning, which leads to the transformation into a work of art. The excessive emphasis of his theory on subjectivism causes personal interpretations and relativism. This article follows the question of “what makes a work of art, a work of art?”, by examining and explain Danto's opinions, while pointing to the works of art referred to by him, I try to describe the factors influencing his theory to finally analyze some of the flaws in this perception of the concept of art.

In the present article, the application of Lacanian meanings in the field of philosophical thought and their comparison with examples of contemporary art has been studied. In this context, theories such as "split subject", "gaze", "Other" and "desire" are applied to the works of visual artist Marlene Dumas. In fact, this research seeks to answer the question of how the philosophical concepts of Lacan thought are reflected in works of art, especially paintings? And can the representation of the status of the contemporary subject in art be explained by Lacanian psychoanalysis ?In order to answer the questions of this research, we first propose psychoanalytic theories about the human subject based on Lacan's views in this field and then adapt them to Duma's portrait paintings. This approach will be in the process of analyzing and interpreting the works as a mainstay against which the paradigm of time in art is evaluated.


The research method in this article is descriptive-analytical and the data are analyzed inductively using written and library sources. Based on the research findings, it will be determined that the contemporary subject is a split subject with lacking, doubting, being prepared and divided.







And by following contemporary works of art, this can be find by reading works of art with Lacanian thought, a new way can be opened to understand the contemporary subject, especially in art.

In every aspect, Qajar painting opens up a new visual content to the Iranian art. In this period, art and painting change in the face of cultural, social and political events. Most of the illustrations of this period belong to the king's body, the nobles and the court. Since the main feature of Qajar painting is human centrality, and it determines a specific contract, the painting of this period is placed in restriction of physical performances. Art and painting in the age of Nasir-al-Din Shah Qajar define a new structure for iconography, and due to the rise of photography, it takes a different form. One of these new forms is the concept of the "body" that acts as a semiotic system in Qajar painting, including the position and function of the "body" in the images of the king, and "body" as an important sign system produces meaning in opposition to another. Therefore, it is important that the literature related to the cultural signs, reflected in body image in Qajar paintings, has been examined in terms of the issues and aspects related to modernity, and cultural, social and political exchanges; because the body has not been investigated as a new visual culture during the Qajar era.Most researches related to Qajar paintings and period focus on topics like religion, reflection of tradition and modernity or the contrast between these two, identity problem, evolution of courtier iconography and integration of iconography, gaze towards women, female clothing and its representation or design and decoration in architecture, with iconographic approaches or the link between political, cultural and power studies. The Qajar era is considered as one of the most important historical periods in terms of Iranian visual art, but the "body" as a new visual culture is not investigated in any of the researches of this age. From this time onwards, "body" becomes one of the most important topics in various economic, social, political and cultural fields. One of the most renowned artists of this period is Mohammad Khan Ghaffari, known as Kamal-al-Molk and one of the most famous works of Kamal-al-Molk is the Mirror Hall (Talar-i A'ina). The Mirror Hall recounts the function of the "body" in front of another in the Qajar discourse. According to this, the main problem of research is; what is the relationship between the body of Nasir-al-Din Shah and the elements within the Mirror Hall? In other words, how is the image of Nasir-al-Din Shah's body displayed in the culture in opposition to another in the non-culture?Non-culture is one of the basic and practical terms in Yuri Lotman's theories that is opposed to culture. The Questions have been answered using a descriptive-analytical method and Yuri Lotman's cultural semiotics approach. Therefore, the purpose of this research is semiotics and reviewing the position of the body of Nasir-al-Din Shah Qajar in the Mirror Hall painting, and using Yuri Lotman's approach to study the position of Nasir-al-Din Shah's body in proportion to the elements in the image of the Mirror Hall. One of the most important topics for Yuri Lotman is semiosphere. The semiosphere is the result and the condition for the development of culture. All elements in the semiosphere are dynamic, and the terms of its correlations are constantly changing. The structure of the semiosphere is asymmetrical and it is a function, a cluster of semiotic spaces and their boundaries, and the most important spots for semioticizing processes are the boundaries of the semiosphere. Boundary is a necessary part of the semiosphere because that both separates and unites, and it always belongs to both frontier cultures, to both contiguous semiospheres. Outside the semiosphere there can be no communication, and boundary is a mechanism for translating texts of an alien semiotics into familiar semiotics. It is a filtering membrane, where what is external is transformed into what is internal, and eventually external semiotics becomes part of the semiosphere's internal semiotics. The unity of the semiotic space of the semiosphere is not merely brought about by metastructural formations; the unifying factor of the boundary, which divides the internal space of the semiosphere from the external one, its inside from its outside, is even more crucial. All elements of the semiosphere are dynamic, not static. Its inside includes cosmos, culture, text, self, and body itself while outside is chaos, non- culture, non- text, and other.Data collection in research is by library resources and according to the results, influenced by social and cultural components, the representation and nature of the body mix with pictorial elements and find a new meaning. The position of Nasir-al-Din Shah's body in the Mirror Hall of Kamal al-Molk, departs from the self and history; his action disappears and position of the body completely moves towards the body- chaos in the non- culture.

If the investigation of different methods of existence and surveying language capabilities were among the most important thought issues of Samuel Beckett, so he would certainly use these two in order to recognize man better and communicate with the world around him. Beckett, affected by Descartes’ Dualism, believes that the intrinsic separation of body and soul has resulted in the incapability of man’s language to communicate with the world around him. So, he tries to show that there is no way to resolve his inability of communicating rather than creating a new language to narrate himself by his separated body from soul. Beckett uses body, its parts and motions to do this. He believes that the more decrepit the body is, the more obvious its effort to be seen. In order to do this, he tries to use characters with different kinds of inabilities in their bodies. In Beckett’s view, body can remove the obstacles of communication by narrating its defects. Therefore, the characters in his writings never speak about their calamitous situation and they are used to their inabilities as a permanent companion that it seems there is no sign of self-suffering in their behavior and motions. Being with these sufferings to the end of their explorations makes them self-conscious and at the same time to go beyond their decrepit bodies. Critical-analytical method has been used in this article and the result shows that Samuel Beckett goes beyond Descartes' Dualism and tries to restore the place and value of body.

Regarding the concept of formless “l’informe” in Georges Bataille's philosophy, it has been discussed that the very notion of formless is the opposite of architecture. Thus the formless architecture, if the adjective could ever be applicable to architecture, must be somehow symbolic or metaphoric. On the other hand, in Bataille’s philosophy, formless is the “condition of possibility” of art. If we assume architecture as an art, how can we bring formless and architecture together? What can “formless architecture” mean to us? This paper is a reflection on the relationship between architecture and formless. The main purposes would be to give an interpretation of Bataille's “l’informe”; to find the “condition of possibility” of architecture based on Bataille’s formless; and to study philosophical implications of a possible formless architecture that can set free human from its current rigid point of view. This question-based research meditates on the paradoxical concept (formless architecture) with a philosophical approach. In this regard, the possible meanings of formlessness in architecture are discussed. The paradox of formless architecture resembles the paradox of “poetry of silence” in Bataille's ideas; a poetry that sacrifices the language in order to be an art and blooms in the ruins of language. In Bataille's works, this sacrificing of representation and meaning is the necessary condition of art. But in architecture, which in Bataille's world is the reference of human representation and the base on the human form, sacrificing is to make human formless. Bataille’s historical quest for formless human had led him to Lascaux cave galleries, where human are represented unclothed, animalesque, and faceless. Bataille interprets these figures as human desire to negate himself. He defines formless human as the nonstop negating force or nonstop negativity. This is the ideal picture of human in the “General economy” because by negating himself man can be the best representative of extravagancy and can replace a limited view with a general one. Thus formless creates a Copernican turn from a limited viewpoint to a general one. As we will see, in this rotation, the world of form starts to float on the excess of forces that have directed our deeds, and formless defines the foundation and the condition of form. A condition that has directed architecture like other human deeds: just as architecture, which prima facie seems to be a shelter from death, is rather an excess which does not fear ruining vital forces and in its highest forms plays with the fear of death and makes fun of it. In Bataille's opinion in the shadow of pyramids, the fear of death is rendered pointless. But what is the most basic wealth to spoil in architecture? This Copernican turn engages architects with this consistent question: what makes architecture architecture? What makes a place a place? Formless will present itself as the foundation of architecture or the “condition of possibility” of architecture. This Copernican turn paves the way that takes Bataille from Hegel’s “negativity” to Nietzche’s “extravagancy” and ultimately to Proust’s “quest”.

Le Corbusier and Bataille -who was against architecture- seem to be two opposing figures. But there is a relation between the two. Building Ronchamp, le Corbusier was reading The Accursed Share of Bataille. ‘Le jeu or play’ is one of the common concepts in the theoretical framework of these two, which can be slightly different. In this paper we will look for this relation considering le Corbusier’s Ronchamp chapel. In Ronchamp le Corbusier brings the contrast-based play to the beginning of architecture: What is architecture and not architecture at the same time. In Ronchamp Le Corbusier continued with the process of rotating axes which he had started in 1920s; the same measure which Bataille takes in ‘Acéphale’. The play in Ronchamp is ‘changing Thing into no-thing’ and ‘sacrificing’ architecture; concepts which are found in general economy and Bataille’s works. Ultimately Ronchamp plays with the common organization of architecture, both in reference and form. This is just what Bataille admires in works he considers as the cathedrals of the time or beyond: Manet’s works and Lascaux Cave Hall. In Le Corbusier’s not-well-understood concept of ‘machine of life’ the process of architecture is very close to the ‘formless’ process of Bataille: Playing of intensities that reaches to its acme in Ronchamp. By sacrificing what he loves, Le Corbusier, as he imagines, sits on the place of ‘Sovereign’ of Bataille.

Some commentators assume the title of the first article of The Truth in Painting, Parergon, as "para-ergon" or "beyond the work". But in Derrida's text, "Parergon" is something more than just empty rhetoric. Assert that the atopics of the Parergon are “neither work, nor outside the work, neither inside, nor outside, neither above nor below”. He has extracted the word Parergon from the Third critic of Kant. The section "Lemmes" is the departure point of Derrida in the book. In this study, we have scrutinised the etymology of the French word "Lemmes" and traced its roots in the Indo-European (Persian branch), Hebrew, and Arabic Languages. We investigate what Derrida calls Lemmata of the work, and in fact, are the methods for philosophizing art. The methods which have been limited art in Metaphysical structure of philosophy and redefine it in an original and authentic frame. These Methods include Satirical Lemma of time, Art training Lemma, The encirclement of the circle Lemma and the Third-party or Middle Lemma. Meanwhile, we will do a survey to the concept "abyss", the concept that shows the colliding of the subject and object as one of determining issues in philosophy and specifically after Kant was a crucial concern for defining the notion of subjectivity. Another citation of the abyss (incision, cleft) in Derrida's text is attending to inoperable space of two critics of Kant and also regarding the relation between Kantian Noumenon and Phenomenon.

Qajar painting influenced Iran’s painting with a new kind of illustrations originating from the past traditions. Art and cultural politics of Fath Ali Shah performs an obvious role amongst the influential agents and historical events in the era of Qajar paintings for a presentation of the concepts of power in the social, political and cultural arena. Fath Ali Shah’s patronage of the art alters painting’s direction as Iran’s painting moves to a new field of pictorial history. Thus the portrait and figure get special significance in the painting this period as respects the themes of painting have changed via the penetration and impression of the western art and culture, and the noblemen take possession of that to be part of their belongings. Its climax is clearly seen in the court noblemen portraits and figures that has originated from amalgamation and mergence of western and Iranian traditions .Those are portraits and figures that are for the peerage men, kings, princes, dignitaries and the king’s courtiers and attendants. To show women’s portrait starts from the Qajar dynasty, and their representation matters in this era’s pictures, and its presentation falls prey to change both in the shape and content. Women’s images were not widespread because of religious reasons and didn’t «boom» as much as men’s images. The purpose of this article is connected with cultural semiotics which analyse a woman’s portrait related to the period of Qajar paintings. And the female gaze is tantamount to the body function. This is a specific work of art because it is an image synthesized from several painting genres. This research interpreted pictorial elements in proportion together by an adaptive and analysis approach based on the shaped changes in this cultural and social period. We suppose that female gaze in this work of art, composed of several genres reflects changeable presence of the body’s action. The question is about the proportion between body and procession of the young woman’s look matching another details and elements of the image. Maybe the female gaze in this work was depicted as distinct from power of the male gaze. So this Qajar era painting provides an opportunity for different studying of this kind of pictures. Depicted portrait of the young woman contrasts with the separate images from women of this period of Qajar paintings. In conclusion should say that the representation and nature of the body was different in the images of this period. There is an exact relationship between the elements of the image, especially in case of the womanchr('39')s body that reflects a dominant female gaze. She was a court woman that has stood in the middle of the tradition and modernity. She shows the cultural tension of the Qajar era. Her female gaze predominated not only on the audience but also on all that by its proportion to other elements. There is a structural and formal relation between elements that demonstrates physical presence of her body and a different look.

David Lynch, the profound contemporary filmmaker, is known by uncanny, dreamlike narrative of his works. To the extent that he is called the resuscitator of the Surrealism school of 1920s. On the other hand, Jacque Lacan, the controversial Freudian psychoanalyst, who was also largely influenced by the movement, decided to exert its ideas in his researches and innovations of psychoanalysis. Based on the hypothesis that Lynch represents psychoanalysis ideas in his corpus, we can discern intelligible narrative structure with appropriate Lacanian themes. In that respect, I would argue that both Lynch and Lacan seek to illustrate the unrepresentable. The realm Lacan named the Real, that which is outside language and that resists symbolization absolutely. I would show Lynch’s works can be read as the presentation of the unrepresentable. He does so, by the immersion of the viewer in fantasy world of cinema, as an object of our desire, but he also would sharply punctuates the transitory nature of this world. Hence the deadlock inherent in desire shows itself at the end: the Real. The subject/viewer in Lacan’s theory and Lynch’s works traverses the fantasy to face the threatening absence of the desire deadlock. The Blind Owl of Sadegh Hedayat, the Iranian writer of Modern prose fictions and novels, could illuminate the path for Iranian reader of this article to comprehend what we means by the surrealism style.

Comprehending the world by internalizing social signs and employing them by social actives are all fulfilled through Body. Therefore, the body must be considered as an axis which makes understanding the relation with the world by human possible. Man’s relation with the outer world becomes reality through the body. First of all, Man’s existence is a bodily existence. Human subjects and their bodies in visual arts have always been Noteworthy for the artists in decades and hence, the man and his body has always been a challengeable subject. Paying attention to body is seen in historical rituals and ceremonies and gradually it was documented in some aspects of art. But in recent years for some reasons like sociological regards or artists individuality and stuff like these that critical approaches have discussed, the body has been the center of attention. So, the body has been mentioned again as an important matter in Iran contemporary art. Mentioning anew the figurative art as a recent tendency in contemporary art, has the attention to the body in itself being accelerated after the Islamic revolution. In recent years the body and corporeality being the center of attention in Iran contemporary art, the artists reveal critical objective aspects in their works by using Grotesque moods. So, by considering the sociocultural contexts and observing the contemporary paintings, we find implications leading us to discover social philosophical issues in body and its representation in images. Through this, we can analyze different aspects of these concepts in visual arts and define its general characteristics in the contexts in which the work of art has been created. It must be taken into consideration that since the 70s there are various inventions and new experiences in concepts, techniques and ways of expression in Iran contemporary art. Moreover, Iran effective presence in international exhibitions and biennials reveals the necessity of studying the contemporary artists at the present time. According to Bakhtin’s theory and his approach to Grotesque body, the representation of Grotesque body in Vahid Chamani’s works of art is discussed here in a descriptive-analytic method by utilizing library documents and references. Explaining Bakhtin’s theory adaptability with visual arts is the goal of this research with which a Grotesque situation resulting from the peripheral conditions can be analyzed. Grotesque body is one of Mikhail Bakhtin’s key concepts in literary critique and theory applicable to other majors such as visual arts. By proposing Grotesque body and carnival, Bakhtin expresses a satirical and illusive approach toward what happens in society. In analyzing the artist’s works of art, we face three main themes which makes interpreting possible according to Bakhtin Grotesque body: Contradiction and Inversion, Mask (Metamorphosis) and Death. There are Grotesque bodies in the artist’s paintings with no eyes, sometime their mouth seems like a hole, or their organs are not fully shaped. The Grotesque body challenges our expectations from proportions; it constantly changes. It never ends, nor becomes complete. Grotesque bodies in Chamani’s works of art with masks on their face have a metamorphosed state, showing dual aspects with an ambiguity of death in a carnivalesque space with a taste of inversion and carnival contradictions, not a space of festivity. These contradictions can also be seen in the title of the artist’s collection (Amino Acids), too. This Scientific word have a conflict in concept and appearance. This lexical combination proposes destruction, disintegration and death through part one, and the second part discusses the emergence. Mask is the sign of wasting individuality, accepting anonymity and admitting plurality of identities. Mask is the symbol of motion and change. It never deals with formal culture. Metamorphosis shows how one has become something other than what it was. Various and different images of a specific one are in front of us, images in which one unites as the eras and different levels of existence in his life. There is no real evolution in fact, instead it is another milestone. On the other hand, the double face idea of mask refers to death. It means that mask represents absence, and after death, the presence of one is possible with mask in another way. Death appears here in dark and mysterious places and bodies with damaged unfinished identity seeking to rebuild previously experienced spaces and a new life. In this space, in contrast to classical aesthetics, bodies are exaggerated in a Grotesque state, with pores and openings to existence, expressing the purpose of their narrative through a repugnant-shocking picture hard to imagine. Finally, Grotesque is a result of our world, created by that, but is omitted from it. Chamani astonishes us with representing an alien world. This body includes new obscure realms and gives us a new sight of social life.

The concept of experience which had been formed in Kant’s epistemological system, despite its importance as one of the fundamental keystones of the critical system, ironically remained neglected in the decades following his death. The rediscovery and re-establishment of Kant’s concept of experience is due to the efforts of thinkers who are generally associated with “the Neo-Kantian school”. Focusing on the work of one of the prominent figures of Neo-Kantian school, Hermann Cohen, this paper sets out to show how the Kantian experience can transcend the standard conception which is based on subject/object duality, and can reach the origin of knowledge. Following that, we will see how this originary experience motivates “the coming philosophy” which has been outlined by Walter Benjamin in his early writings in the 1910s. However, this would never mean that Benjamin simply follows the path of Neo-Kantians: As we shall see, in order to reach the origin of knowledge, Benjamin uses a historio-theological “battle plan” which is markedly different from the one used by the Neo-Kantians – and Kant himself.

During the turbulent period of forming political, social, and historical revolutions in the face of western art and culture, Qajar painting goes through old and new elements, and settles in a wide range of challenging and new concepts. One of these concepts is the functioning of the body which acts as a powerful semiotic system in Qajar painting and in the direction of producing meaning, in dealing with "non-culture". Non-culture is one of the basic and practical terms in Yuri Lutman's cultural semiotic approach, which is opposed to culture. For Lutman, the most central concept is the semiosphere with the dual space: in such a way that the meaning is produced from the opposition of the dual concepts in this space. Therefore, this research aims to examine and compare the type of function and position of Fath-Ali Shah and Naser al-Din Shah's bodies in opposition to "Non-culture", with the purpose of using "body-signs" in Lutman's cultural semiotics approach. The purpose of this study is explaining how both kings' bodies are portrayed as their own bodies in the culture, in the face of another body within the "non-culture". This study is carried out through comparative-analytical method. The result of the analysis indicates that the cultural bodies of both kings in the discourse system of semiospheres in the face of "non-culture" have unequal status towards each other. The image of Naser al-Din Shah is constantly appearing towards another body within "non-culture", and in the dialectic of his own body/ another body, is considered as "close-body", despite Fath-Ali Shah who avoids it. As a result, with the influence of "non-culture", the image of Naser al-Din Shah is more exposed to change and transformation than Fath-Ali Shah, and the cultural body of king gradually fades.

Each architectural element, in a building, is designed and built for a specific purpose. Using these elements in the usual way will create comfort for users. In The Trial, Kafka tries to express his ideas with paradoxical uses of these architectural elements and with an expressionist view. The first point that appears is the concept of contradiction. In this regard, in the world of The Trial, even the window, the wall, the stairs and other elements have lost their usual uses. Another concept that Kafka expresses with the help of these components, is the concept of alienation and loneliness, which is seen in allover The Trial. It seems these architectural elements are built for others and these common uses will be lost for Josef K. in front of the others. This alienation is a reminder of various aspects of Kafka's personal life. The last but not least concept that Kafka expresses with the help of the architectural elements is being subordination that, with disappearance of the private space of Joseph K.'s life, it becomes more apparent.

Despite being rather a less known character in his time, Maurice Blanchot, French philosopher and literary man, became famous due to his writings in the second half of the 20th century, particularly among philosophers as well as literary critiques. What is most distinctive about Blanchot’s works is his fragmentary approach towards philosophy and literature which results not in the establishment of a literary theory or a philosophical system, but rather in an anti-theory or a non-systematic attitude to these realms. Among the various aspects of Blanchot’s thought, one can recognize the uncanny relation that he suggests between the origin of literature and the problem of finitude and death. Now, by discussing Blanchot’s ideas about the indefinability of literature, the origin of literature and also the question of death, the present article seeks to discuss the relation between the origin of literature and the problem of finitude. As we shall see, Blanchot’s viewpoint regarding finitude and nihilism could be considered as what constitutes the secret of literature’s opacity and its origin.

Maurice Blanchot proposes fragmentary writing as a way of thinking/writing that essentially indicates incompletion as well as a rupture from totality. He believes that fragmentation emerges in the form of an imperative that not only affirms finitude but also reflects the infinite openness of thought and writing, apart from systematic or dialectical thought. Understanding the importance of fragmentary writing as an exigency which emerges after the completion of the systematic thought’s energies, may depend on a special reading of history that rests on return and recurrence rather than development or accomplishment. By introducing the doctrine of the Eternal Recurrence along with the Overman, Nietzsche, also committing to the fragmentary space, images a world in which man faces with finitude and to affirm it is the only way to pass by nihilism. By analyzing the role and characteristics of fragment in Blanchot’s thought, this study tries to read it along with the doctrine of the eternal recurrence, in order to discuss the exigency of fragmentary writing facing with the thought of the Whole and the need to affirm finitude.

The 1979 religious ideological revolution of Iran brought about a double stance towards the body and its pictorial representations, as to drawing a schism between the physiological and the cultural aspects of the body. Studying this schism is important particularly due to its significance in figuring out the features and functions of what in this article will be called “the ideological body”. Based on Hans Belting’s image trilogy and his concept of the “medium” in it, the present paper aims to investigate the schism between the natural and the cultural body as observable in the ideological body in the context of the Iranian contemporary visual culture. It is shown that this schism appears to be emanating from a dual behavior of pictorial mediality (as introduced by Belting), where the two bipolar limits of the mediality continuum herewithin called the “exogenous” vs. “endogenous” mediality come into a conflict. Through this conflict, the cultural [aspect of the] body which in pictorial terms will be defined to be chiefly the creation of exogenous mediality (i. e., the Shiite ideology’s image-making apparatus) receives glorified representations at the cost of the denial and negation or “(non-)presentation” of the physiological [aspect of the] body produced mainly by the endogenous mediality (i. e., the immediate imaging of a “self”/ an individual without the intrusion of any “other”). This schismatic bodily glorification through negation in the post-revolutionary Iranian visual culture is shown to be the most fundamental definitive characteristic of “the ideological body” the features and functions of which will be investigated in this paper in view of the paintings of the School of Islamic Art and Thought (Hozeh Honari (1979-1992)).

Interpretation is the process aimed to achieve understanding. The purpose of the interpretation is to understand the meaning of forms and find the messages they try to convey to us. From Gadamer's perspective, images are based on the participation of viewers in the process of image formation, and there is no possibility of separation of object and subject. Both the image and the viewer are modified when they experience the production of images. The Image is not fixed and static, but a perception that forms itself within the "observation" experience. Seeing is a process of processor mind and it is unique to him; in this process, the cultural backgrounds and visual experiences of the viewer effect in the processing of developing images, and therefore human visual experiences finds a historical-cultural structure, while previous data is affected. Hence, the observer under the influence of Meta-picture sees the image and makes it. This article, titled “Understanding from picture to Meta-picture", looks at image, the understanding of the image, the explanation of the Meta-picture, and the role of the Meta-picture in understanding an image. The purpose of this article is to explain the role of imagination in reproduction of the image in the viewers mind and intends to be scientific and measurable. In the end, by doing a survey tries to find out whether the viewer in his imagination refers to a subject outside the image and creates a new image or not.
Until the twentieth century, it was believed that the understanding was based on the creator of a work. The twentieth-century thinkers suspected this: if the intention is to create a message, to create a state in the receiver and transmit the message to the viewer, we have basically not understood until the states of viewer and recipient have been taken into account in this process.
This article is dedicated to explaining the terms of understanding and seeing under the influence of the phantom and formation of the image. In the following, the issue of intermediate spaces in the oriental art and the role of imagination at the presence of the viewer are mentioned. In the end, we did a survey. The method of scientific research in social sciences has been used in seven stages. Step 1 - Initial question, Step 2 - Exploration deals (Reading - Exploratory interviews), Stage 3 - Theoretical plan of the research question, Step 4 - Making the analytical model, Step 5 - Observation, Step 6 - Analyzing the information and Step 7 - Conclusion. The collection of information was in field and library practice. The purpose of the research was to find out if the viewer has more frank in mind than he or she sees, or how the human person in his imagination refers to a subject outside the image and creates a new image. The conversion of the quality of this process into quantity has been the goal of research.

This paper is about Corbin's investigations in aesthetics. These investigations are a part of his universal project named "comparative theology". Corbin's comparative aesthetics is founded on his perception of phenomenology; the one he calls "tawil". So in a successful comparative effort, all phenomena must be compared to its sources. So for a comparative aesthetics, we should search for common sources, and these common sources can only be reached by esoteric tawil. This esoteric tawil based on a special perception on time and truth. And this perception makes real understanding, i.e. "Waai" possible. Henry Corbin contents only with this esoteric tawil, we can compare tow works of art with extreme geographical distance. A task Corbin claims to do. We try to find out that pattern which Corbin's comparative aesthetics is based on; so this paper begins, presenting methodological elements of this comparative aesthetics and is to be ended by Corbin's analysis in this field.

The most of the research have done on the subject of Muhammad Siyah qalem, shaped with respect to identity and cultural background of his paintings and works. Muhammad Siyah qalem is a famous painter but anonymous of the second half of the ninth century that, his life and identity is still shrouded in mystery and it is almost the equivalent of a century that has been made context for numerous researches studies. The most of his works has been held in library’s albums from Istanbul Topkapi Palace and, also a few of them have been kept in the freer gallery in Washington and the Metropolitan in New York. His famous is by creation of the demons, humans and shamans, and this article has been helped without concern for identity and cultural context of Muhammad Siyah qalem’s work from the shapes and forms Mikhail Bakhtin’s carnival, and has particularly been investigated Muhammad Siyah qalem’s Grotesque world by looking deep and new. And in line with this object, elaborates elements of Muhammad Siyah qalem’s painting that are defined and equality by functions of Mikhail Bakhtin’s Grotesque body. Mikhail Bakhtin is a great philosopher and theorist in 20th century that has imposed on his opinions concepts and ideas such as "dialogue" or "dialogism", "the other","polylossia", "polyphonic", "carnival" and etc. His theories almost is two decades that has extended in the visual arts and has built a suitable structure in criticism of these works for art researchers. As respects Mikhail Bakhtin’s specific point of view about carnival and "Grotesque body"could be an appropriate approach to analyzing and discussing the Grotesque world of Muhammad Siyah qalem. Also Bakhtin’s thought completely distinguishes interpretations before him about "the other", novel, language and its potential forces and brings up in his book Rabelais and His World, concepts of carnival and Grotesque realism, and displays in that a function of the body that emphasizes on the relations between the layer and material of the body and the world and reconstruction in the act of becoming, growth, birth and death. This research has been interpreted elements of Muhammad Siyah qalem’s figures by an adaptive and analysis approach that are focused on the functions of Mikhail Bakhtin’s Grotesque body. According to Mikhail Bakhtin’s thought, Grotesque body is not unique or inimitable and separate from the rest of the world. That is an amorphous and abandoned, unbound body. And everything that happens in its inside, successive associates with life and death and it has never absolute end, also another is that creates another shaper of both the power (power shaping for the another one), a body that doesn’t have an independent and individuality so he/she isn’t separate and a only single body,that was exceeded from the limits of its physical form and joined to the world and the objects and the other bodies. Muhammad Siyah qalem’s figures have the potential by these features, for interpretation and description with this combined and unbound body.