فصلنامه کیمیای هنر
پیاپی 31 (تابستان 1398)

Merleau-Ponty, the prominent phenomenologist of the 20th century has noted the phenomenology of perception. He argued that perception is a corporal (physical) phenomenon. In other words, it is the body which percieves not the mind. The preset study is an attempt based on Merleau-Ponty’s understanding of perception and corporeal sensibility to highlight the importance of human situatedness expressed through place and place experience. To this end, experimental evidence derived from the magical realism novel of One Hundred Yyears of Solitude by Gabriel Garcia Marquez, is used so as to elaborate and generalize the philosophical assertion of Merleau-Ponty. Accordingly, present study is of descriptive-analytic type and data gathering was done through library method in which the researcher explains and elucidates the why and how of the issue and then analyses it. Last but not least, phenomenological assertion of Merleau-Ponty was approved and outstanding elements pointing to human situatedness and place experience was found.

Is literature aesthetic in its form? If it is, what causes this beauty, creates this appeal and results in this artistic expression? Understanding the aesthetics of literature, poetry in particular, is made possible through the understanding of grammar (morphology, syntax, phonetics and semantics). Consequently, in the literary canon of the world, aesthetics are methodical, systematic and accessible. The present paper, evaluates the aesthetic and artistic expressions in the works of Sa’adi through analyzing its prepositions and conjunctions, and tries to demonstrate how the structural analysis of a literary work, can facilitate understanding it. This research sets to demonstrate that understanding the aesthetics of Persian literature, and grasping the application of its universal themes cannot be possible without the help of linguistic tools.

Art in Deleuze’s ideas is a block of percepts and affects that is made in order to make audiences free from clichés. Performanceart works’ approach to social matters are to disarrange clichés, too. The aim of this paper is to analyze “Time” as an essential component in performance-art works to answer to this question: What potential is in artists’ approach to this component for expressing social matters? 
This qualitative research uses descriptive-analytical method and to elaborate Deleuze recognizes time as a qualitative component and he claims duration as true meaning of time that is in uninterrupted becoming. Then, by analyzing well-known performanceart works which emphasize on time, we found: artists, by framing their work, make audiences pay attention to duration and open hole of life and in result of it invite them for rethinking about all kinds of transcendentality which are maden by regimes of truth that govern the society.

Myth, like any other form of narrative, has an undeniable role in visual imagination based on the foundations of mythical thought. Ernst Cassirer, by recovering the fundamental principles of mythical thought, brings against them to the foundations of contemporary rational thought and defines the fundamental features of mythical thought as compared to modern rational thought.
He also believes the path of human thought from mythical thought to rational consciousness. In this research, it has been attempted to provide a model for explaining the level of human thought in past civilizations using a descriptiveanalytical approach based on Cassirer’s epistemological approach to mythical consciousness as well as using archetypes presented in Joseph Campbell’s Theory of Heroic Journey. The case study is a Babylonian reading of Gilgamesh’s mythical narrative.
On the basis of these studies, it can be deduced that the logic governing many of the images formed in the mythological narratives of a civilization, given the level of transcendental thought of that civilization, lies within the mere bases of mythical thought and systematic logic of rational consciousness. In the meantime, as the content logic behind the visual imagination of the mythical narratives departs from the fundamental mythical principles, the structure of that narrative, and in particular its personality, takes on a more complex form.

Monroe Beardsley describes the features of artwork that provokes the aesthetic experience which include: unity, complexity and intensity. These features can be pursued in deadpan photography as the value of art, because the photographer’s feeling, when taking a photo, is not the key to understanding the meaning of the image. The deadpan genre in photography is a kind of unconventional photography that photographer has an interested view in it, but at the same time they are very smart and intelligent. Gursky’s pictures are a prototype of this genre. These photos in criticism can be interpreted as a good example of this criticism model of Beardsley’s view. The purpose of this research is to introduce a trend of new criticism and to analyze it with the art of photography that most audiences expect to be informed and represented with specific intentions and goals. The method of research is to collect data from the way library study and the internet search, then describe and analyze them in accordance with Gursky’s the selected works as a case study.

Almost a particular insight is effective on the artist’s approach in creating quality of space in his painting. In fact, the general atmosphere in any painting is a reporter of artist’s thought and insight. By examining the foundational of ontology in their approach we have found some similarities and differences between the Iranian painting and the Far East painting. The purpose of this study is to investigate the relationship between ontology foundations and painting space. In fact, we are looking for: is the concept of “existence” and “absence ” ( in ontology) effective in negative and positive space painting? To prove this goal, we have analyzed the aesthetics and visual structure in their paintings and compare them in some concept such as (time, place, color, …).
The research method used in this paper is analytical-descriptive and the library resources have been used for these concepts.
This study concludes something that be represented in Iranian and the Far East paintings involves artist’s insight into the knowledge of ontology, so we can see filled space in Iranian painting and empty space in Far East painting which is proved by a comparison of the visual structure of their works.