فصلنامه کیمیای هنر
پیاپی 42 (بهار 1401)

The subject of this article is how to think beautifully; For the researcher, the characteristics of the confrontation and curiosity of the greats of art, the philosophy of art, and the revelatory mystics of beauty are a matter. The purpose of research is to think of beauty from an intertionl perspective in order to better understand the concept of beauty. Descriptively and analytically with the approach of phenomenologists such as Husserl, we have explored the specific passages of the subject and the object and found that intentionality is an important existential possibility in the way of thinking about an inventive subject. Due to the concrete and abstract unity of beauty, its artistic, philosophical, mystical and revelatory features must be disjointed and reconnected in order to see the focal subject. As a result of the thought of beauty, there is an aesthetic passivity of the passion of the observer soul, which is the negation of intentionality as the negation of the ability of the mind from thought to beauty. In general, due to the prestige of the rain of beauty on the one hand, and the various motifs of the experience of beauty on the other, the possibility of understanding the concept of beauty is inconceivable.

Architecture, like other arts, has always been considered by philosophical and intellectual disciplines; Sometimes as an example and sometimes as part of a philosophical system. One of the contemporary philosophical currents that has paid special attention to architecture is the branch of object-oriented ontology which is further developed by Heidegger. This article intends to shed light on the relationship between objects and human beings from the perspective of this philosophical approach to architecture and to show the role of architecture in highlighting this relationship. The research method is descriptive-analytical and along with theoretical analysis, consistent examples have been used. The results of the study showed that according to object-oriented ontological theory, the relationship that exists between man and objects is the same as the relationship that has been established between objects, and man can only know about objects through imaginative experience. This experience occurs when the surrounding objects come together in a form arising from new facts. In this form, one should not pay much attention to the proportions of aesthetics and functions, but only what is important is to create a space that confronts man with the existence of objects. Architecture is the most worthy art form to create such a form. Architecture will bring us to an imaginative experience through “the sensibility of form in formability,” “the ability to choose alterations,” “the production of modern forms of reason,” as well as “the ability to produce, control, and understand a fundamental aspect of judgment and analysis in architecture.”

Adaptation is to use the commonly used words to retell and explain the extent to which a text is taken from and influenced by another text or texts. Due to the special and sublime position of the form and meaning of the Holy Quran, the first definitions of adaptation refer to the influence and presence of this revelatory word in literary texts, but it has gradually developed semantically and especially in the studies of recent decades it is one of the most widely used terms in explaining the processes of creating literary and artistic works. One of the arts that is very much influenced by the literary texts and is most beautifully manifested, especially in manuscripts, is the art of painting. In the present study, with the descriptive method and comparative analysis, and with the aim of explaining how the painters adapted from literary texts and the scope of influence and presence of those texts in the paintings, three narratives and related paintings were selected from Khamseh Nezami of Shah Tahmasebi. The research findings reveal that one of the most important and common types of adaptation in the field of literature is abridgment and summary, and state of the connection and relation of illustrated texts with the literary text can be analyzed and interpreted under this type. Without trying to copy and repeat the text ahead, the painter draws the drawings with a sharp imagination influenced by this text and some other texts that are engraved in his mind and conscience.

Mythical criticism of literal and/or art works may be considered as one of the most important branches of criticism. In this respect, the idea of monomyth of Joseph Campbell, thanks to its distinctive feature, has been always referred to by many researchers in art, literature as well as linguistics. Campbell maintains that myths, in the beginning, follow architypes in terms of form, content and structure. In different cultures, however, they are transformed into different forms in the course of time. Here, a hero (more technically known protagonist) plays a major role in universal architypes. Religious myths, among other pivotal ones, have been represented into diverse derivations. Accordingly, the story of Moses, the Prophet, with its narrative dimensions, is a prime example of a religious myth. In the present study, the story of Moses depicted onto a rug ground has been read mythically. The main question here is how Campbell’s idea of monomyth can help us to read the course of the story from the start to the end of the journey as well as the role of the antagonist, the Moses, so that deeper layers of spiritual transformation of Moses can be appreciated more tangibly. In this story, Moses, the Prophet, as a religious mythical hero, has been chosen to fulfil his divine mission. Campbell holds that the journey of nearly all heroes may be formulated in three major pillars namely, Separation (departure), being Honored and Return. Findings According to Joseph Campbell’s idea of monomyth of Joseph Campbell, the form and content of the story of Moses, as a religious myth, can be safely put in those mythical stories enjoying primal architypes. Along with other symbolic elements and architypes, Moses, as the hero of the story, passes the three phases successfully one after another, in his own manner, to accomplish his mission. This study is essentially qualitative. The data were gathered mainly from library sources and then were analyzed descriptively.

The story of abandonment of Ariadne, a Cretan princess, especially connected with two other mythological characters, Theseus and Dionysus, has drawn the attention of painters and sculptors throughout history. Ariadne, Mino’s daughter, fell in love with Theseus, but Theseus abandoned her, and she was finally found by Dionysus in Naxos Island. Quite a few paintings have emerged in various styles from this theme, i.e. Ariadne’s abandonment by Theseus, Ariadne’s solitariness, and her meeting with Dionysus. This narrative has been portrayed by painters from different perspectives, and the works of paintings available on this theme in antiquity, the Renaissance and Baroque, and the eighteenth and nineteenth centuries AD have undergone fundamental evolution and change in terms of form, structure, and narrative style. This paper is aimed at providing a descriptive and analytical account of European works of paintings about Ariadne’s abandonment and identifying and understanding the structural and narrative changes of European works of paintings about this abandonment throughout history (from ancient Greece to the twentieth century). Importantly, each artist has seen and portrayed this narrative according to his/her style and lived experience from a specific period. The works analyzed in this study belong to historical periods and artistic styles of Renaissance, Baroque, and the eighteenth, nineteenth and twentieth centuries. The theme of abandoned Ariadne narrative makes its contextual and iconographic analysis possible with regard to the historical changes and the artists’ desire in each era to select and interpret this legend. In the historical world of myths, Ariadne was left alone in her way to Athens in Naxos Island, but the depiction of this narrative in painting at different times and in different works has opened a new symbolic aspect of it and given it a new interpretation. There are more than five hundred images of this theme available from classical Greece to modern art. Three well-known and recurring scenes of this story can be examined. The first is the scene where Ariadne falls asleep and is abandoned by Theseus by Athena’s guidance and decree. The second is the scene where Dionysus finds Ariadne Naxos Island in great sadness and appeases her. It is in this scene that they hold a feast and celebrate their wedding. The third scene portrays Ariadne left alone after waking up, while gazing upon Theseus’s ship moving away at sea. Examining these works indicates that the frequency, repetition and attention to the importance of each of these scenes change in different periods. Ancient Greek paintings often portray the first scene. During the Renaissance and Baroque, it is the second scene that is often portrayed, while the third scene draws the painter’s attention from the late eighteenth century, and particularly the nineteenth century. Using library resources and qualitative and descriptive-analytical method, this study aimed to analyze the paintings pertaining to Ariadne’s abandonment in the historical course from antiquity to the beginning of the twentieth century and to present a reading of them. The results suggest the evolution of this narrative theme throughout the history of painting.

In the Persian traditional painting, we confront a special view. It changes the coordinates of our visual comprehension in order to abshact from matter and representation of realities which are cryptographic behind that, and it changes the known rules of seeing and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to express his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and stylizations which applied on the human figures are special movement creators. One of the leading Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. This study tries to examine these images of motion fantasy; The author’s question is: “In what form and style are the animated effects in the human characters of Sultan Muhammad’s works manifested?” The purpose of this study is to achieve a meaningful structure and purposeful method in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad’s iconography and adopts a two-way structuralist-semantic approach. The result of this study is to understand and receive the method of exaggeration and special transformation of Sultan Mohammad in drawing the figures based on the intended meaning of the drawing and predicting the way of movement for the mentioned figures.

Mainstream cinema seeks to naturalize and project as real what comes from an ideological and imaginative framework. Met-films, on the contrary, are meant to highlight their own artificiality and imaginative nature through their particular focus on the movie production process. Meta films are a category of films whose subjects are about the nature of cinema and film making. Film makers of this Sub Genre have a critical view to the production of meaning confront the current illusion in the conventional and realistic films. Modeled on the stylistic properties of self-reflective cinema, the meta-film “When We Are All Asleep” depicts the production process of the movie itself. Differences of opinion existing between the producer-investor on the one hand, and the filmmaker on the other, represent two opposing views toward cinema in “When We Are All Asleep”. Employing Norman Fairclough Critical Discourse Analysis (CDA), the present research seeks to reveal the association between those hailing from either group of the spectrum — representing “the self” — and production team and the audience, representing “the other”. To identify the discursive order dominating the film in question, the paper analyzes the plot, characterization, the interaction among characters and the arrangements made for self-reflectivity toward the closure of the movie. The study found that the production team is treated with objectification, neutralization and distancing at the hands of those who fall in the business-oriented category. The same category regards cinema as a commodity and is in a constant push to neutralize its artistic and critical functions. They do consider the audience as consumers with no subjective attitude. The director, on the contrary, is in pursuit of solidarity, sympathy and a sense of responsibility toward the production team and maintains the view that cinema is art, and creativity remains the key concern. From this viewpoint, the movie’s success lies in its plausibility for the audience. In other words, the two dominant discourses of “business” and “art and creativity” shape the discursive order in the movie. In the former, a tendency toward “the other” backs up and reproduces the discourse, while in the latter, efforts are being made toward a restructuring of the discourse that has overwhelmed the Iranian society.