نشریه مطالعات عالی هنر
سال دوم شماره 1 (بهار 1399)

The real art is supposed to be original; actually authenticity of artworks always play important role in understanding of art. Therefore the work which is a simple copy, could not consider as a valuable artwork. Besides, imitation and forgery can not reflect the authenticity of the art work, since forging in definitions indicates the absence and negation of value. Forgery’s meaning determines only by referring to the notion of authenticity, and because it is intended to deceive in this action, it is in contradiction with the meaning of authenticity. This research describes some of the features of copy, imitation and forging in relation to the concept of originality. It also answers the question of whether the artist can create original artwork by copying a painting work or not. According to the studies, copying in contemporary art is a new form of art that appears in different forms. For example it changes in content or appearance of the work, and if the expression of new ideas is presented in the view of contemporary artists, so that it can be an original work. In spite of, the action of forgery intends to deceive people but if it preserves the originality and authenticity of the earlier works, it can be considered a genuine work of art. Concerning the concept of copying in the contemporary world, may not be possible to exactly determine. On the other hand, due to the ability of artists to access the Internet and the advancement of technology distinguish between impact and coping has also been issue. As many arts resulant each other, it should be consider that visual arts sometimes causes similarities between the images two artists (in terms of ideas or visual elements), which are similarity in some cases are inevitable because in many resemblances, the artists did not know the images of each other. The problem of similarity seems to always be and will be, and sometimes it would not be considerd copy. Copying is not primarily forgery, since copying of the art works has always existed in the history of art which importance should not be ignored because the tradition has pursued positive goals, for example, educating students and accessing famous and valuable works before the invention of the camera. In conclusion, If a new ideas is presented in the view of the contemporary artist, in such a way that authenticity be considered, copying has not purpose to deceive the audience and the originality of the earlier works can be considered a genuine work of art.Therefore, in the present article, it has been tried to mention the role of imitation and forgery concepts separately by introducing samples of some artists’ works. Research methodology is descriptive analytical method with library studies and using Internet resources.

Public supposition of a linear and exalting trend in art developing, which takes commonly roots from enlightenment tenets in representation, based on pictorial classic patterns and educated supposition of development, inclined to non-classical and non-representative art which clearly depends on post-Hegelian and post-romantic and modern attitudes, both, due to tight concerns of traditional European reflection, are unable to plan contexts leading to a creative art process. This paper, by representing a third tenet to «development» of art which basically strengthen by criticizing of two millennium of the history of thought in western culture, tend to show that a creative tenet of art development, cannot come true by employing the common categories. We discuss that, only through a fundamental criticism of traditional philosophical categories, which has consistently claimed of a guardianship to almost all human activities including art, tending to a constant restriction to plurality, creativeness, freedom ... it will be possible to access to a hopeful development of creative art.

Pieter Bruegel the Elder is the link between the late medieval and seventeenth-century North European Painters. His standpoint is also positioned at the end of the ancient world and the beginning of the new, and he is considered the first modern painter of North. Bruegel neither shares the medieval outlook of someone like Bosch, nor are his views as accredited as those of the seventeenth century, which makes him a more controver-sial figure. This controversy has also found its way to the debates of art historians, and since no letters or writings of any sort has remained of Bruegel, various, and sometimes contradictory, interpretations of his works have been made. Meanwhile, the complexity of the works themselves have added to these controversies. Consequently, some has emphasized the moral and allegorical aspects of his paintings, while others have studied their ethnographical and comic nature. Among the concepts used in Bruegel studies is the grotesque. There have been many studies on the concept of the grotesque in the twentieth century, in which references to Bruegel’s work are also common. The main purpose of this article, however, is not to “tie together” the concept of the grotesque and the works of Bruegel and state the obvious, rather it is to first, outline the figure of Pieter Bruegel, and second, describe the state of Bruegel’s “world” in some of his paintings. It just so happens that, among aesthetic concepts, this description has an equivalent term: the grotesque.

Ideological aims and political advertisements have always played an important role in helping realize the objectives of great world powers. Among the super powers of the twentieth century, the Soviet Union was exemplary in its propaganda, and the visual history of the Soviet Union, whether from the perspective of the entrance of political thought to art or as an example of committed art, cannot be ignored. As a form of Socialism, the Soviet Union was a political reality that cast its light on the world for 70 years, challenged great powers, and developed allies for itself among the other countries of the world. The Soviet Union, while keeping the country intact, used political advertising and art in an attempt to save its political life among the nations of the world and at the same time rise to fight Capitalist ideology. The political life of this country was simultaneous with many national and international problems and in all this, art ran to help politics. This study discusses topics such as committed art, art for art, political advertising (propaganda) and a brief history of Soviet union, and then broaches the main topic. In the end, with the investigation of about 200 examples of posters of the time, begins to analyze and draw conclusions. How the day’s politics are reflected in the soviet posters, the way that posters are used for political purposes and the symbols used in propagandist illustrations, and the necessity of the relationship between politics and poster making are some of the key questions of this research.The art of illustration, using the techniques of political advertisement turned into a gathering for the transference of political messages. The illustration of soviet posters, like the dominating policies, changed according to period, and the examples from the beginning years of the formation of the Soviet Union, whether from the point of technique or content, were radically different from previous years. But what remained constant, was the political advertising and inculcation of the dominant ideology in the art of soviet posters.

Any attempt for defining and explaining the pillars of today's art is being in a cycle without beginning and ending ideas that created by the accumulation of intrinsic theories of history along with contemporary sociological theories of art. This difficulty when comes to its peak, the dominant trend of postmodernism, with doubt in all of the great modern aesthetic narratives, opens the way for the appearance of conceptual art as the supremacy of the idea on the artifactuality and plurality of new artistic forms. The forms that, each of which by critique or negation of fundamental concepts such as aesthetic object, aesthetic experience and aesthetic pleasure are autonomism claim.The present paper, with questions about the role of artist, artwork, audience and environment in today's art, leads to the conclusion that, the first, we must search a definition of today's art. The search that ultimately leads us to sociological definitions of art, in which not found theory that can be generalized to the plurality of art forms of today. New definitions of art such as George Dickey's institutional theory or functionalism of Monroe Curtis Beardsley, that one of them reduces the value of an art object to its acceptance in the artworld, and the other reduces it to political, social, psychological and aesthetic function, just they do remind of this point, that today's art still has its own broken foundations from its earlier foundations and has not totally left the realm of aesthetic experiences. Such an open and wide context that, in turn, disregards the difference between truth and narration, continues to use the paradoxical way of using scientific data such as quantum physics and chaos theory to uphold its attitudes and, more than anything else, has employment to spontaneity of the artistic phenomena, by relying on the horizons of the new media and network, which simultaneously speaks of interaction, conflict and understanding between thoughts, it leads to the appearance of an institutional discourse in which an overall framework for presentation and influence of mentioned elements will be provided. This institutional discourse, in a general attitude, firstly is confirmation under the title of postmodernism, and then distinguished in the general title of conceptual art. Conceptual art, allows the artist that before the beginning to create artwork, to ask questions about the quiddity of art. Under the title of Conceptual Art, art work also becomes a process in which nothing is predicted at the beginning or the end. In this cycle, the audience plays the same role that the artist has toward his work. Today's audience, with attending inside the artwork, become a living and continuous interpreter of the artwork. In between, the environment as well, no just conventional places, such as museums and galleries, which considered to be as an inclusive and expanding space that allows the artist to deepen his free association with the place, audience, artwork, and in an artistic expression.

Art is presented as a language and a system of concepts and ideas inspired by dominant society, discourse, and ideology, and critical discourse analysis approaches by studying the relation of language, power, ideology, and discourse provide the opportunity to picture society and Its relationships and discourses, and why we create certain works at specific times.The purpose of this research is to analyze the mythical and national hero's narration of the artist's narration through the elements of speech in his works. To this end, Norman Fairclough's critical approach to discourse analysis at three levels of description, interpretation, and explanation has examined the salient relationships of image vocabulary in the important works of Ghasem Hajizadeh's "Green remembrance" collection.Studies show that the artist's placement in the decades of identity in Iranian history, in contrast to the gentility and nationalist discourses, the Protester left, national nationalism, and the discourse of return to rural romantic nostalgia, makes historical, national, and rural myths among the contrasting urban discourses. Ghasem Hajizadeh presents a complex narrative of multi-disciplinary heroism in the multifaceted atmosphere of Iranian history and situates it between national and religious traditions and post-constitutional imported discourses such as leftist discourse and nationalism.

This research is comparing Transcendent Philosophy doctrine as a mystical-philosophical school of thought in the creation of art with surrealism basics and methods of making art. In this process after a short introduction to three realms of the world and their correspondence with external and internal perceptive powers, it is explained that the creation of art is the result of the collaboration between external and internal perceptive powers. Then it is explained that images are created by representative faculty accommodating its reserves of external precipitations to estimative faculty and modification of imaginal faculty. Consequently, it is stated that quality if artistic creation depends on the quality and strength of those faculties. Then by studying surrealist methods of dreaming, hypnotism, automatism, and accident, it is concluded that everything surrealists have done due to achieving free mind state is, in fact, practicing Transcendental Philosophy theories, emphasizing that excessive focus on representative faculty contradicts Transcendental Philosophy doctrine as the surrealist experience shows it has affected artists’ mental health.