مجله رهپویه هنر
سال دوم شماره 1 (پیاپی 2، بهار 1398)

Plato did not write an independent book about painting, but his ideas about this art are very important. His emphasis on painting is more ontological and epistemological than moral and educational, because painting toward the expressive arts (poetry and music) has a less impact on the audience’s morale. In a universal division, Plato divides the art of image-making into two parts:(1) likeness-Making (eikastike); and (2) Apearance-making or (phantastic). In art of likeness-Making, the artist makes his work just like the original And it does not distort the reality. But phantastic art is not a The mere imitation of reality And it changes the reality in the interest of the senses؛ in the other words, the artist creates a work that is even more beautiful than the original. Plato is the first philosopher to extend the meaning of Mimesis and use it in the sense of imagination In the imaginative art, Mimesis is not pure representation of real objects, and the artist’s work is outside the realm of imitation. Painting and sculpture are part of the arts. Plato called the painting of his time degenerate.The art of painting during his time had made a lot of progress and painters had discovered techniques to overcome the virtual error. This progress went back to Plato.The painter must not defy traditional rules, and deceive us by distorting reality and creating visual illusions. The painter will change the rules of nature to adapt to the requirements and conditions of my vision. He can never show the truth of objects and only depicts a shadow or a phantom of objects, objects that are themselves nothing but illusion. He imitates only tangible objects, and the outward appearance and image of things depicts us, not the truth of them. He is three times far from the truth, and does not have the true knowledge of what is going on. Therefore, Painting does not have a great place in Plato’s philosophical system. At the time of Plato, Sophist’s ideas were prevalent. By the way, Plato was in agreement with the Sophists, because the senses do not give us any certainty; They are making mistakes. Human senses do not know objects as they are, but they find objects as they seem. Art is deception (apate) and charm (goeteia). Poetry is charming with words and painter charming with pictures. Plato opposed their phenomenalism and illusionism, because knowledge was not limited to the senses. Plato defends the Egyptian paintings against the art of painting his own time and finds ideal art not in Athenian art, but in the East. Egyptian painters follow the fixed and inviolable laws that the gods have set. The work of the Egyptian painter is not mimesis (imitation), but Anamnesis (recollection). The real painter is the one who recalls the supernatural truths and follows them in his work. Plato does not give any explanation about the nature of Egyptian painting; this ideal painting does not need to be described and defined, and should only be accepted as a patern.

As one of the results of Descartes’ cogito, subjectivism is an innovative thought in the heart of his philosophical system and is the attitude involving various philosophical arenas, including epistemic, ethical, and cognitive. In the field of Aesthetics, Descartes considers the aesthetic judge as the basis, and he believes aesthetics to be a totally subjective entity. From this perspective, beauty is subjective, and anything that satisfies our taste or mental sensibility is beautiful. This new viewpoint on aesthetic object continues in the course of philosophical events after Descartes, and taste having the central role in imagining aesthetic object , developed in the philosophical views of thinkers such as Burke, Hume and even Kant. Kant is one of the most important philosophers behind Descartes. He has played a significant role in the development of Cartesian subjectivity. Kant expanded subjectivity in various areas, including the process of understanding, ethics and aesthetics. Apart from the aesthetics, Kant managed to create a coherent philosophical system in all spheres of thought. He faced a major challenge in the field of aesthetics. The challenge was due to the taste-based aesthetic rules and The morality of these sentences eliminates the possibility of generalizability of these sentencesTherefore, the aesthetic rulings like the rest of Kant’s rulings can not be issued in the first two critiques. The main challenge here came from. The resulting subjectivity of Descartes was challenged at the aesthetic station. It was the first time that Cartesian subjectivity that succeeded in other areas of thought was criticized. The criticisms that target the basis of Cartesian subjectivity and Opens the way for new critiques. The most important of these critiques saw the general look of humans. In the subjectivist approach, man has always been viewed in general. In this approach, man had lost his individuality and The identity and the role of the individual were neglected from the point of view of the subjective thinkers. Subjectivist philosophers sought to define man under universal and universal rules, A look that stripped humanity of any freedom of action and He transformed man into a fully recognizable duplicate machine. The individuality of man was critically acclaimed in the form of fresh critique of Cartesian subjectivity.The aim of the present study is with the support of the subjective nature of aesthetic experience, highlights individual dimension of the experience and order; And by means of this, changes the route of discussions on those challenges ruling aesthetic judgement, which are mainly based on involving objective elements in aesthetic judgement, to that of individual dimension of the experience and eventually to the centrality of individuals in issuing these judgements. The approach to the individual has been considered in modern attitudes in the field of art and philosophy. Everyday, the importance of individual individuality in different areas of thought becomes greater. Contemporary art has also been influenced by this individualized approach.The present study is a qualitative research in which the author has used method of library research and note taking technique to collect information.

The analysis of the relationships among texts, that had attracted the attention of researchers from a long time ago, was formally and systematically theorized and presented by Kristeva and Barthes under the title of intertextuality theory in the twentieth century. Using Kristeva’s opinions, Genette named a variety of relationships between texts under the title of transtextuality and divided them into five categories one of which is hypertextuality. Current paper, in two parts- theoretical discussions and practical critiques, firstly addresses the analysis and explanation of the relationships of hypertextuality from Gérard Genette’s point of view and typology of such textual relations. Then, in the second part, three paintings of Iranian contemporary painters with approach to hypertextuality are analyzed. The reason of selecting these three paintings was their consideration and derivation from one of Behzad’s miniatures as a single hypotext, which provides the essential groundworks to generate hypertextual discussions and analyses. Current study is going to benefit from concepts which are considered in the analysis and study of Iran’s contemporary painting through observing artworks and using data descriptive-analytical method which is obtained from desk research about hypertextuality. Analyzing these artworks is an effort toward decoding them and finding a proper pattern to describe, criticize, and analyze Iran’s contemporary art and its relationship with traditional art. Genette’s hypertextual approach which is introduced after kristevian intertextuality could be very helpful in studying and criticizing some paintings. This approach addresses the study of such artworks that are established on the basis of connections among texts. In the current article, hypertextuality approach was used to study three Iranian contemporary paintings which were adapted from Kamal ud-Din Behzad’s miniature of the seduction of Yusuf. First, these three artworks are created based on derivation, so that these artworks would not emerged without Kamal ud-Din Behzad’s miniature. Second, each of these artworks exhibits a specific form of derivation. In other words, three aforementioned artworks were adapted, to some extent, from Kamal ud-Din Behzad’s miniature of Yusuf and Zulaikha. Therefore, some sort of drastic variety among these artworks indicates contemporary artists’ various statements and expectations. Third, hypertextual type of all three artworks were parodic, which means contemporary artists used Behzad’s artwork to be able to create a new artwork in order to express their own emotions and thoughts. Eventually, using indigenous and traditional hypotexts not only doesn’t restrain artists’ creativity but also, while providing an indigenous and comprehensible statement, helps to some kind of aesthetic identity proliferation, and of course, it will be accompanied with critiques and updates.

Certain Prohibition in representational Arts, as painting, under early Islamic period, has persuaded Artists to invent various types of pen and fanciful methods in the art of calligraphy. This has resulted in certain of calligraphy forms and shapes of human, animals, different objects and so on. The high visual of calligraphy, in addition to its property conveying meaning and communicative aspect has resulted in many beautiful forms and shapes, along with inscription of expressions with themes that are harmonized with pictures. In formation of these forms, known as pictorial calligraphy (Khatt Mushakkal), the value of the appearance of lines has been preferred over their legibility and compliance with inscription rules; decorative and ornamental Kufic script in Iran was associated withAli ibn Abitaleb. For example, Sultan Ali Mushhadi the calligrapher, claims that Ali invented Kufic script. The association of Ali with Kufic enhance the religious implications of all forms of writing. Histories of calligraphy mention the Setta (six) traditional scripts. These scripts contains muhaggag, rayhan, nasakh, Riga, Thulth and Tauqi. Taken together these scripts provided calligraphers with a basic repertoire with which they could execute a variety of tasks. In connecting calligraphy with religious discipline, calligraphers were continuing a well-established tradition in the Islamic world. These is a saying attributed to both Euclid and Plato which seeks to define this instrumen. The view that writing was spiritual geometry gained particular strength from the precise geometric formulas of shape and proportion which were the basis of various scripts used in Persian tradition. Scripts used in the religious sphere were based on a canon of proportion which had evolved over several centuries. Therefore, the present article deals with the ability of association of calligraphy with images and its main focus is to collect and analyze works and examples that are focus is to this branch of calligraphy scripts. Going through the historical development of the pictorial calligraphy and examining the present inscriptions and methods of designing and drawing the pictorial handwriting along with Symbology of these works and analysis of visual characteristics of a number of examples, the article reaches a kind of conclusion. In these pictorial calligraphies priority of the aesthetic aspects and ornamentation of lines over the technical aspects of calligraphy and merge and formation of letters in each other as well as rich imaginative decorations have made up for pictorial vacuum that arises from prohibitions. The duty and undertaking of conveying meaning and philosophy too, as a requisite of the Islamic art of calligraphy in a symbolic form and within the shapes chosen by artist, is also perceivable within these pictorial calligraphies. All pictorial calligraphies were composed in Persian and penned in inky black scripts on white, ivory, and tan sheets presumably made as a practice exercise in the first instance, products of calligrapher’s endless activities. To comprehend the pictorial calligraphy, it is necessary to acknowledge, identify, and define the scope of changes made to it after its compilation. This article makes more sense to treat this task.

Pottery is one of the most ancient arts which since ancient times has been a manifestation of the beliefs and the thoughts of various nations. Potteries are hand-crafted works that their designs have symboles from the past people with them. Pottery dishes have always been an appropriate means of expressing imagination, beliefs and customs of the people of its time through utilizing drawing and creation of designs. Among them, the Neyshabur pottery in the Samanian Era has a special place. These potteries are a kind of link between two periods of the most important periods in the history of Iranian art, pre and post-Islamic art, and include iconic designs and images closely related to the rituals and customs of the pre-Islamic religions in Iran. Some of the designs of these potteries have themes derived from the ritual of Mithraism; Mithraism is one of the most prominent religions in Iran over the centuries before the advent of Islam. Mithraism is based on the worship of Mithra, ancient god and god of the sun, justice, covenant, and the Aryans brought it to Iran. In this ritual, the worship of fire and the forces of nature and magic have been used. The ritual of the pre-Islamic era was widely spread. It also influences on the other religions and has persisted in the Islamic era of Iran in another way. Samanian era is one of the most prominent historical periods in the Islamic era of Iran. This period is exclusive and important course from different views. From one hand scientific and cultural achievements, governance, social and administrative principles, on the other hand, based on the historian’s quotations. Cities of Khorasan such as Neyshabur were the important sites for scientific and theological activities. Since Neyshabur was located on the path of the Silk Road and was considered the cultural junction point of the East, Iran and Islam, much symbolism could be seen in the design of the potteries in these centuries. This symbolism has originated from the religion and the ancient traditions.  During the Samanid era, with the support of the Iranian dynasty, the Persian language and Persian literature flourished and Persian works apperead. Based on the collaboration of Samanid rulers, some national ancient customs and rituals stabilized. in this era, as the result of adopting a tolerance and moderation policy, followers of different beliefs and sects worked free of any limitations. studying the symbols which are reflection on the potteries show that Some ancient symbols were changed with the arrival of Islam and Some symbols used are the same before and after Islam. Some of these symbols related with ritual of Mithraism. This article examines the effects of Mithraism, this ancient Persian ritual on the designs of Neyshabur’s pottery in the Samanian era. These effects are evident in some of these designs directly and in some in a coded way and in the form of a symbolic representation of the ritual of Mithraism. The present paper is responsible for examining these effects.

The tendency and perspective of “social documentary photographers” with different European nationality(Russia, England, Netherlands, Germany / Austria and …) in a period from half of the 19 century to half of 20 century with a subjectivity approach in order to study and analyzing the mentioned photographer’s attitude that traveled to Persia (current Iran) and subsequently have photographed from it, has been investigated and studied in this paper. What is that can be defined and included following the title of “social documentary photography” is not anything except the created work by photographers that with relative commitment to Human phenomena that is around you, either as a fascination for humanity or as a protest against the current situation and reformist look.The “Social documentary photography” mainly corresponds to the personal concerns of the photographer and, of course, the being of outside subject. The main purpose of this research was to attain the “attitude” of each of the mentioned photographers in the desired time period and also specifying the differences and similarities of these photographers in retrieved attitudes. Some of the photographers in nineteenth century saw their work as a “document”, but many other did not anything about themselves and they did not know that the photographer is a documentary. Other genres close to social documentary photography include ethnographic photography which is essentially the same as recording people in shaky or risky situations, but they are oblivious to the recording of traditions, clothing and living or biological conditions. Documentary photography dominated in many ways to the history of twentieth century photography and many great photographers in mentioned century have been linked to this genre. Talking more about the documentary photography, whether in absolute or relative terms, means going to a marsh with contradictions, turmoil and uncertainties. In this paper we were raised the photographers that in addition to their performance in the social documentary genre were important in another aspect that is the name and works of some of them arises for the first time in a scientific – research paper in Iran. In selecting and electing the photographers that are the case study of this paper, regardless of two mentioned property (that all of them should be active in social documentary genre and theirs works did not seen or be less prominent in Iran) the personal interest of the author of this article has also been among. The necessity of having a time frame and specific social condition and almost identical about the intended photographers of this article that were traveled to Persia / Iran in a desired time period and have photographed, is another key and important element that should be taking into account it. In the case of contextualize this explanation is required that in this paper according to the nature of “social documentary photography” and expectation from it, we have considered a “subjectivity” approach against “aesthetics” approach. The desired photographers have been selected from different European geography (Russia, England, Netherlands, Germany /Austria). Meanwhile because England is the main and major source of the social documentary approach, paid more attention to the more photographers of this geography. For any photographer, at first his/her biography has been published and then his/her attitude has been analyzed. The findings of this research shows that the approach of the selected photographers that is the result of theirs works, has not consistency in production and consumption. The studied photographers have power and dominance on their human subjects.

The adaptation of literature in form of poetry to animation film is the main concern of this research. The purpose of this study is at first, to identify the concept of poetry and subsequently to examine the movement of surrealism poetry and its four outstanding poets, in the early 20th century in France to analyze how their words are translated into the image in the works of the Tant Mieux Prod company. France Télévisions and Tant Mieux Prod have invested in this project by focusing on the work of Jacques Prévert, Robert Desnos, Guillaume Apollinaire and Paul Éluard. An ode to poetry, the aim of the series En Sortant de l’École is to celebrate the prose of French poets who made an impact during their lifetime. Launching the first season with a tribute to the free and pioneering spirit of Jacques Prévert, En Sortant de l’École associated thirteen of his poems with the talents of young filmmakers, fresh out of French animation schools that generated short films embodying Prévert’s verses with their widely different approaches to the medium and with their own graphic creations. Like other forms of literature, poetry may seek to tell a story, enact a drama, convey ideas, offer vivid, unique description or express our inward spiritual, emotional, or psychological states. Yet, poetry pays particularly close attention to words themselves: their sounds, textures, patterns, and meanings. As a result, it would be difficult to analyze a poem’s words regardless of the poet’s period and life. That is necessary for the director to have a good understanding of this matter to be able to direct a movie in a way that would be comprehensible for the audience too. In this research, with a library-based study in the theory of adaptation and film-making, and also the translation of poems and interviews from French to Persian, it has been attempted to find the relationship between animation and poetry. According to the original assumption, animation medium is preferred to represent poetry, which is due to the power of imagination in the creation of narratives which pursue a structure different than the usual use of language. The other major discussions, are the director’s role and the process of adaptation in the cinema in order to make the readers able to understand this process better which will prepare a basis for the final section of this research. To the purpose of analysis of the short animations of each collections, it would be quite inevitable to study and understand the period, life and background of the poet. Therefore, after reading the translation of the poem, one can adequately understand the atmosphere of the poem and its meaning. Consequently, with these knowledges it would be less complicated to watch the final short animations and having an opinion about the successfulness of the works. The results would give us a clearer picture of how the adaptation process in animation from poetry could be done and what would be the real problems that should be taken into account.