فصلنامه کیمیای هنر
پیاپی 18 (بهار 1395)

Adorno is the creator of a special kind of aesthetics that for its attention to dissonance, we can name it Difference Aesthetics. This aesthetics has been created based on historical concept of Mimesis in philosophy of art but against platonic idea of it. Adorno emphasizes on expressive aspect of Mimesis. That sort of art that is based on this idea becomes an independent art that gets free of constraints of society.
An independent art that is not iterator of the natural conditions (facts), can expand the understanding art of as a plural event and makes it possible for addressee to contemplate in work of art deeply. The contemplation that is created by this deep thought in addressee’s mind, changes his consciousness fundamentally, and propels him to transit himself to an undetermined existence. In other hand, independent art that itself is a relief, creates relief.

The present article aims to examine the roots of pictorial poetic thinking in Paul Klee’s image-making, with an emphasis on Martin Heidegger’s view on reflective thinking as thinking-in-liberation and the emergence of beings’ existential truth. Therefore, to reach the gist of Heidegger’s perception of poetic character as art’s true nature and its relation to Paul Klee’s artistic creations this paper tries to answer the main question of whether the existential truth in Paul Klee’s pictorial expression is in line with his specific viewpoint towards existence. While examining Heidegger’s ideas on the manifestation of truth in an art work and comparing it to Paul Klee’s reflections on the emergence of the elements of an image in the process of formation, it is argued that according to Heidegger, reflective thinking is a way of life for humans in the universe and in relation with other beings which gives them freedom from any invasive inculcation; and unlike most other modern artists, Paul Klee has managed to express this perspective in his artistic creations. This is why, Heidegger appreciates his images for revealing the existential truth about beings. The paper follows a descriptive analytical methodology and data collection has been done through library work and exploration of the cyberspace.

This articles focuses on the possibility of the audience’s democratic participation in the interactive arts and discovers it on some samples of art activism. The theoretical framework is based on Walter Benjamin’s ideas about democratic art, and on the relationship between art and politics as seen by Jacques Rancière. It searches features of democratic participation in art in two models, “the standing man” in Turkey as a political-artistic action, as well as the “Village of Arts and Humanities” in the United States as a socio-artistic activity. The paper analyzes political and democratic characteristics of the samples based on the theoretical framework proposed and explaines how art activism with interactive approach provides the equall involvement and participation of the audience and also clarifies why these activities should basically be considered as Art.

Although recording facts and events of human society is one of the objectives of the social documentary photography, a social documentary photographer does not tend to provide merely an apparent picture from reality and a report-type factuality, but selects and composes varied elements and facts of human community to frame a piece of social reality in a given moment of time, to produce a photograph that invites addressee to watch, think, comprehend and judge. It can even stimulate addressee’s response to the subject. In fact, the social documentary photographs may variably influence on addressees because of their social nature, and they may like language, represent different functions as well. Thus, the objective of this paper is to examine and analyze the functions of such photographs on the basis of the linguistic functions of the Jacobson’s communicative theory. The question is what are the main elements of social documentary photographs that provide them with different functions? The methodology of the study is descriptive – analytical and comparative. The study results indicate that in every social documentary photograph, we would face one of the dominated functions: referring, emotional, encouraging and artistic. In other words, a social documentary photographer may provide only information around a subject (a referring function), express his insight and sense for an object (emotional function), urge one to react by stimulating one’s sensibility and thought (encouraging function), or else, create a visual passion in addressee by highlighting apparent construct of a photograph (artistic function). Nonetheless, frame and shooting moment remain as major elements for having these functions.

Although none of the concepts of form as following function or form as a purely semiological order or the necessity or otherwise of taking the context into account in design are new in architecture today, it is still hard to create any remarkably thoughtful architecture without having answers to such questions. The present text is an exploration of the high-rise, gate-like twin tower type: a type without a significant historic precedent, and as such, relatively free from post-design semiological loads despite the limited numbers of its examples. Having Jim Collins’s idea of the replacement of ‘form follows function’ with ‘value follows location’, the text attempts to demonstrate that even in the case of this type in which close associations between design ideas and semiological references are not far away, one can still witness a fluidity in the relationship between form and function on one hand, and form and socio-political and cultural context on the other. In other words, it is not just the classic views on typology whose historicist and rationalist traditions seem inadequate to explain this type, but also that neither the earlier idea of form following function nor the latter one of the building as a meaning-producer and a conveyor of semiological references can provide a firm ground in this regard.

This paper would seek to explain the philosophical foundations of symbol and allegory in Hikmat-al-muta’aliya through a descriptive-analytical method. Its core concept is that symbol and allegory are, on the one hand, rooted both in Ideal and Intellectual worlds and, on the other, that they are tied to artist’s purifying imagination. Accordingly, this leads to discussions on imagination’s role in the embodiment of meanings and animating of the substances and an argument on the univocity of symbols and allegories and their correspondence to human’s existential chain of orders. The first part of the paper hence introduces the philosophical issues regarding this understanding of symbol and allegory and the second part provides, while giving some examples as well, the philosophical backgrounds for them.

The aim of the present study is presentation of conceptual metaphor theory used in the art, to provide an efficient method for illustrator artists, when faced with the mystical texts (the case study is a poem of Ghazaliat-e Shams), with the ability to find the infrastructure’s theme of a poem. Therefore, the conceptual metaphor theory in poetry and image has been used and also practical features of this theory which are extensible to other contexts has been described. The area of study is a lyric poem of Rumi from a Shams-e-Farhangestan collection which is depicted by contemporary artist Aydin Aghdashloo. The selected poem in this study is that of Rumi: “we are from ascendance and go to ascendance/ we are from sea an go to sea”which in a comparative study between poem and illustration, the success rate of Aghdashloo in illustration has been studied. The result of this study illuminates the fact that the conceptual metaphor, namely “the life of gnostic is a journey”, that is a dominate metaphor in lyrics of Rumi, has been indicated in Aghdashloo illustration. This research has been done by descriptive method and collecting the contents with library method and analysis of the images contents.