فصلنامه کیمیای هنر
پیاپی 32 (پاییز 1398)

One of the most important aspects of an artistic expression in a work of art is the hidden form of its infrastructure. This item is especially noteworthy in Iranian painting. Symbolic and artistic expression in the works of the Safavid period are manifested in a well-organized manner in many paintings. Among the paintings depicted in the school of Tabriz II, the painting of Worldly and Otherworldly Drunkenness by Sultan Mohammad has many hidden semantic and symbolic layers. The aim of this study is to explain the mystical meanings in the form and structure of this painting and its relationship with the whole collection in order to answer this question: How are mystical aspects reflected in the structure and composition of the painting? The available findings are descriptive-analytical and the method for collecting data is library-based. The results indicate that the process of miniature formation follows an organized structure and contains a spiritual attitude with various mystical manifestations which in turn reveals the principle of “plurality in unity”.

The cinematic frame is the boundary between the cinematic image and the outside world. In the history of theoretical studies of cinema, the essence of the cinematic frame is analyzed in many ways. Here we focus on two significant viewpoints among them. One of these significant viewpoints considered cinematic frame as a window, and another one considered it as a framework. Both of them had (and have) some supporters. In the case of the window, which realist theories preferred, the cinematic frame is a window upon the world which cuts a slice of the world to produce the cinematic image. In this regard, the window metaphor served as a fenestration or hole through which one could see the world. In this paper, at first, I will report a brief history of the frame in old arts, and in this brief history, I explain that the modern concept of art came out of the Fifteenth century when European artists began to use easel painting. And then, after presenting a very short history of the development of the easel painting and modern concept of the frame in painting and other mediums, I would try to analyze the cinematic frame according to the history of film studies. Finally, in the main part of the paper, I attempt to analyze the cinematic frame according to the distinction between the metaphors of the window and framework. In this respect, I try to find conciliation. This conciliation depends on the concept of off-screen which both formalists and realists have considered it, so I would also examine the concept of off-screen and its role in defining the cinematic frame. After surveying the realist and formalist viewpoints on this concept I try to reach a comprehensive analysis of the cinematic frame which keeps the strong points of both viewpoints.

In this article, the authors make an attempt to re-examine the neglected portions of ritual-artistic dance by presenting new evidence and using paid theories through phenomenological study of this art. The fundamental results of the present study, which will be obtained by a quantitative phenomenological and an interpretivehistorical approach, the social and religious contexts of this pervasive phenomenon in the culture of the ancients will show that “Dance with Samaacheh” is an integral part of the life mixed with metanarrative world view of pre-historic people. It will also reveal the origin, base, process and factors associated with its formation and consequence of its continuation and use. The importance of research becomes more apparent when it is understood that “Dance with Samaacheh” has not ceased in its pre-historic past and is still present in many cultural, artistic, social and religious contexts in most societies and cultures.

One of the dominant acts of Samuel Beckett’s characters is their “death thought” or “deathliness.” They are either waiting to die or want to commit suicide. Disappointed with the proceedings of their life in modern society and to free themselves from deep crisis, these characters prefer death to life. Since ancient Greek tragedies, death has always been a basic theme in the works of many writers, poets and philosophers one of which is the famous Iranian poet, philosopher and mystic, Rumi. Using Rumi’s system of thought on death, this topic will be examined first; then the belief in death in thetwo cultures of East and West will be evaluated to provide a clear understanding of the role and nature of deathliness in Beckett’s works only to further treat the following questions in that context:What is the reason that Beckett’s characters are deathly or commit suicide? Does Beckett intend to promote death and non-existence or he is pursuing a more constructive goal in human life? Certainly, paying attention to the findings and beliefs of the audience in Iran, including the influence of personalities such as Rumi in the intellectual sphere of the Iranian people, would lead to a deep understanding of Beckett’s work in the culture of Iranian theater. Accordingly, the research method of this paper would be descriptive-analytical.

Transtextuality theory of Gerard Genette offered a systematic classification in the field of intertextuality studies. This theory includes five main parts: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. In this article one of Kamal al-Din Behzad’s artworks, namely “The Story of Yusof & Zoleikha” has been analyzed by these five parts of Transtextuality theory, in order to identify various dimensions of the painting. The questions are: Which one of Genette’s transtextuality applies to the painting of “The Story of Yusof & Zoleikha”? As a visual text, how is this painting to be identified in the transtextuality relationships? The method of this article is descriptiveanalytical and the data collection is library-based. Findings of the research show that the painting has definite intertextuality, like Quran, Bustan of Sa’di, Yusof & Zoleikha of Jami, and the implicit and visual intertextuality are seen in its forms and colors. The painting has moral-didactic architextuality. All interpretations and reviews related to this painting could be regarded as its metatextuality while it provides several paratextuality as well. This artwork is also considered as a hypertextuality that includes transposition.

Heidegger’s Art thinking is the result of his later thought. But the death-thinking is attendant with “Being thinking” in the whole of his thought. In fundamental ontology, “Being” is understood through “Dasein”. The problem of Dasein historicity and temporality led heidegger to contemplate about death. After “turning,” death thinking, it was followed through the “Event (Ereignis) thinking”. In “Being and Time” he did not say anything with explicity about Art. But after turning, Art, especially poetry, was found to be s suitable area for Being thinking. From Heidegger’s point of view Art thinking are contrary to the everydayness habit of man. The mystery of the death and Art, raised this question: whether there is a relationship between them? The result of this study show that Heidegger’s death thinking and his Art thinking have common feature; because Art thinker Dasein, is death thinker too and death thinking manifests itself in origenal Art work. Dasein is solitary in the creative time, as he is facing with death. After the creation, the artist disappers and the task of collecting a nation is taken over by Art work. In fact Art work, is Being thinking by event thinking. Another face of “Being” is “Notness”. Fear-concious artist (Da-Sein) understands the notness, because he is aware of “towardness to death”. In this study, we would attempt to compare the death thinking with Art thinking.