نشریه مطالعات عالی هنر
سال یکم شماره 2 (زمستان 1398)

Lev Nikolayevich Tolstoy (9 September 1828 – 20 November 1910), usually referred to in English as Leo Tolstoy, was a Russian writer who is regarded as one of the greatest authors of all time. Leo Tolstoy has been known as a novelist in the world with his very famous and important works such as war and peace and Anna Karenina, but he is a philosopher of Art too. He has broached a new theory in art in his book "What is Art?" which is called expression theory. He has been known as the first theoretician of This theory after the long-life theory in the history of art philosophy: "mimesis".He believes art is the manifestation of meaning in form, and artist presents deep and pure meaning of humanity in his works.On the other hand, Muslim Wisemans believe like Tolstoy. For example, Seyyed Haydar Amoli in Jāme al-asrār wa manba al-anwār ( the most famous of Amoli’s writings) has the same belief.This article has compares Tolstoy and Muslim Wisemans especially Seyyed Haydar Amoli in a comparative study and discussed the closer of these thoughts.

The current study sought to investigate the imagery characteristics of Mirzadeh Eshghi’s ‘Seh Tabloe Maryam’ script. One of the purpose of this research has been to analyze and review this script, in the publication’s context, and as well as to adapt its formal features to the social groups’ consciousness in late Qajar era.This research seeks to answer the following questions: how literature for writers and intellectuals (specifically Mirzadeh Eshghi), as a mechanical reproduced text, turns into a political instrument? How this writers (specifically Mirzadeh Eshghi) represent their consciousness (and their social group’s consciousness) in their content and formal aspects of their artworks?Ultimately, this result has been concluded: referring to objectivity, as believing to science and translated new values, permeates different aspects of artworks.Meanwhile, Mirzadeh Eshghi’s ‘seh tabloe maryam’ exerts this believe in objectivity in many aspects, and for the first time presents a genre of point of view, narrator, and finally a genre of imagery, that altogether represents this epistemological shift.The present fundamental research has been done with a descriptive – analytical approach and the method of collecting library information and adopting the genetic structuralism approach.

Theory of Feminism with different approaches such as radical, anarchist, "abolitionist", Christian, and so on, focusing on the woman and her social status is one of the theories that provides researchers with an opportunity to analyze artworks. The purpose of this study was to analyze this theory and its social and artistic functions by analyzing one of the works of the painter Gustave Courbet called the "painter's Studio".The purpose of this research was purely theoretical in terms of purpose and descriptive-analytic in terms of method. Information was also obtained in a library research method. In this research, after studying the theory of feminism from the perspective of different theorists, Courbet's speeches process and then the mentioned artwork were discussed.Studies show that the presence of the naked woman in this work is a continuation of the western tradition of nude painting and a predominantly sexual desire to depict a woman's naked body.The position of women in this work reflects their embodiment of standard and conventional conditions for women, as well as their passivity in accepting the conditions imposed upon them. Unlike men who hold social positions such as emperor, minister, revolutionary, poet, philosopher and collector, none of the women are known in the work.

By Fatimid empire expansion in Egypt and North Africa, an art arose called Fatimid Art. Developing architecture, especially in the construction of small mosques, the emergence of a new social class and new sponsors, pay attention to build the mausoleum, creation or innovative use of Muqarnas can be mentioned as the characteristics of Fatimid art. Using the existing mosques and innovatively reconstructing them was an event observed in the mosques of Na'in and Isfahan in the art of Buyid in Iran. Using elements of Sasanian art in these buildings is obvious.In the middle of fifth century AH, there was a change in the construction of mosques and religious buildings in Egypt; Instead of building new Jameh mosques, the small mosques were built by sponsors other than of Caliphates, Including Al-Aqamar Mosque in Cairo. One of the features of these mosques is their decorative facade. The Jurjir Mosque is an example of small mosques built which was financed by resources other than government funds. The only high-rise and decorative facade has remained of this mosque that is a unique example of memorials in the east of the Islamic world.In this research, after studying each mosque separately and listing the characteristics of each; a comparative study has been carried out between them. On the one hand, the small size of both, the presence of numerous decorative arrays at facade of both mosques and having non-ruling founders are common features of these two buildings. However, stone is used in Al-Aqmar mosque and brick in Jurjir Mosque. The themes of the inscriptions and ornamental arrays in the facade of Al-Aqamar mosque refer to the Shiite concepts; while in the inscriptions of Jurjir mosque there is no mention of Imam Ali and no symbols representing the Shiite thought were found, although the elements of Sassanid art are seen in there.

Art as we know it today, like any other human activity, has undergone various conceptual and functional developments - it has been considered craft and technique, becomean intellectual activity, and formed an independent and distinctive framework of itself.Ultimately, it has become so complicated that it is almost impossible to describe whatit is now. New art, or at least a large part of it, is called conceptual art. An art that dealswith concepts. One of the concepts that is most dealt with is art itself: the nature of art.Conceptual art is, in a sense, the final step in the process of art’s self-consciousness.An art that obscures the borders of art (in its historical sense) and philosophy. This amalgamation is, for some, problematic, and it is considered impossible to bring thetwo together. In this conflict, one of the two ends of the spectrum, the artist and thephilosopher, disappears, or becomes the other. This has led some people to speak of theend, or the ends. The End theories encompass various aspects of art; one is art theory.Art and theory have long been interconnected, in different ways, and the end of onemay be the end of the other. Victor Burgin, the British artist and theorist, has discussedthe end of art theory and described how theoretical foundations no longer exist in arttoday. Burgin's theory, of course, stands alongside other end theories, and is indebtedto some of them. This article attempts to summarize the state of the art in reachingthis "end" point, and explain Burgin's arguments with references to other historical andphilosophical issue.

Out of the subjects Vincent Van Gogh used to choose, was his old and worn shoes. These paintings have caused many reactions among the critics and philosophers. In this paper, based on post-structure philosophy and a psychological approach, we study one of the most important Van Gogh’s paintings known as worn “shoes”. This research is basic-theoretical by target, and descriptive-analytical in methodology. Data achieved by library method. The survey shows that Van Gogh was not substantially a narcissist as a pessimist and unsociable, but he involves with a sort of schizophrenia narcissism which flows on the “Other” and this flux was possible by his continuous brush strokes. Van Gogh himself, in his “shoes”, flows thanks to the brush strokes. He knows how to deliriously convert his body into the words and brush strokes. He uses his strokes deliriously and through his delirium he flows his strokes by which he crystalizes his ideas. He makes his body flow on what he paints of objects, trees and portraits. Although “shoes” cannot rival in the quality of brush strokes to the Arles period, but yet, the robust strokes can be found in it.

Polo, nowadays a global game, is the oldest group game in Iran and has been so embedded in Iranian culture that many literary and artistic works have been created about it. Ferdowsi’s “Shahnameh” (literally, the book of kings) is one of the most pres-tigious literary works which focuses a lot of attention to this Iranian game, especially in the “Siavash Story”, which has an effective and compelling character. It is natural that the painters of different eras in Ferdowsi’s Shahnameh paintings pay attention to this story and include portions of it, including “Siavash’s polo playing in the presence of Afrasiab”. This comparative study, which aims to examine this tale and its repre-sentations in paintings. This applied research was conducted in a descriptive-analyt-ical manner with a comparative approach, and the information was obtained through a library method. Studies show that, despite the overall representation of the story in the paintings, some parts of the story in the paintings do not match the story; for example, in terms of representing the number of pitchers on the field, the presence of players next to the stage, like the tree and the clear sky that tell the time of the play at the start of the day.

The main purpose of this research is to study the influence of Letterism's works or other kind of arts which use the letters in the work of modern Iranian artists in addition to acquintance with the movement of Letterism in modern art. Also study the relation of these modern works of Iranian artists with the traditional calligraphy.This article refers to the connection between paintings used letters by "Saqqakhaneh" movement and European's letterist works. And new suggestions are made for precisely defining the "Naghashi-Khat" (painting-calligraphy) to distinguish it from the other works of art using letters and calligraphy.In this article, writing and language are first introduced as agents of national identity and then the ideas of "Emad-al Kottab" who was a traditional calligrapher, are campared with "Mirza Malkam Khan" who was a modern intellectual in education and changing the Persian alphabet.This comparision shows that the Iranian aesthetic exposure to the Latin alphabet was well before the 1950s and began in Qajar's era.This article introduces two sources of Iranian modern artists who have used letters and calligraphy in their works: the source of traditional art and modern art.

The relation between art and ethic has been always considerable for the scholars. From the Plato time, this relation was the center of attention of the philosophers and from the Renaissance period onward, the scholars considered the relation between art, ethic and truth. The relation between art and ethic is vary and complicated. This research, which in its type, is one of the first research that tried to adapt art and ethic, aimed to answer three main questions: 1-How is the art in humanist though, 2- what are the ethic characteristics in humanism? And 3- what is the aim and extreme of art in the humanistic ethic? With the study of both ethical humanistic process and western art process, and also regarding to the different art theories of art and ethic interaction, this research shows that the theories about art and its relation with ethic is vary and therefore there is no comprehensive definition in this realm. According to many art scholars, art and ethic, each has its own way and should not be mixed and combined. The data of this research was collected through library studies. The method of this research is comparative, descriptive and annalistic. Regarding to the methodology and type, this research is classified as fundamental and theoretical.