مجله هنر و تمدن شرق
پیاپی 37 (پاییز 1401)

Statement of the problem: The 19th century witnessed the intense pressure of the academies and their dominance over paintings. In addition, with the beginning of modern painting in Western societies, the impressionists started producing works of art against the academies. This was reinforced by the advancement of technology - the invention of the photographic camera and the influence of cinema. With the emergence of art movements and styles, one after the other, artists were encouraged to investigate traditional and local arts. Moreover, the rejection of academicism and the attention of leading Western artists to Islamic and Eastern artistic heritage, especially in the field of calligraphy, encouraged modern Turkish artists to take this path. Erol Akyavaş is among these artists who,  along with the experience of western teachings, has made great use of Islamic lines in his works, considering the cultural conditions of Turkey. The way he used calligraphy in Turkish painting is one of the important features on which this research focuses. This  study attempts to explain and examine the calligraphic works of Erol Akyavaş in the cultural context of modern Turkey. This research employs the historical-descriptive and analytical method and with reference to the works, the artist’s life, and the views of Turkish artists and art critics, seeks to understand Erol Akyavaş’s calligraphic works in the cultural context of modern Turkey. The studied examples were calligraphic works published in books and catalogs, which were selected purposefully. The methods of data collection were library and documentary. Analysis of the data in the cultural conditions of modern Turkey shows that Akayavaş expressed his belief and mysticism clearly visible in the form of calligraphic works by highlighting his cultural and religious components.

Ernst Jünger, a distinguished German author, and theorist is known as one of the most significant authors of the 20th century. Along with individuals like Carl Schmitt and Martin Heidegger, he was among those right-wing thinkers whose ideas and theories had a great impact on raising the Nazi party. Jünger’s argument regarding total mobilization uses war and struggle as a model for the formation of a social condition in which the social order is reconfigured according to the concepts related to war. In such a condition, militarization and mobilization of wartime are injected into the social structure. Based on a descriptive-analytic method and by using library references, the present research aims at analyzing Fear and Hope (1960) film directed by George Ovadiah and studying how the condition of total mobilization and social control is represented in this film. Fear and Hope is the life story of a young married man named Mr. Karimi who due to the economic and financial crisis of the 1950s has just been dismissed from his job and as a result, cannot afford the expenses of the New Year ceremony. Regarding the impaired social condition, economic crisis, and the spread of demonstrations and strikes against the government in the late 1950s, the present study tries to unfold some socio-political implications of the film. In this regard, the film acts as a propagandistic work that introduces a fanciful image of a coherent empathetic society in which the government and citizens are mobilized to confront the danger that is threatening one of the citizen’s life (a metaphor of threatening the social order). The social-familial peace and stability pictured at the end of the film can be linked to the Pahlavi regime’s tendency to establish stability and order in the heart of demonstrations and strikes.

The stone lion (Bardshir) is one of the cultural symbols of the Bakhtiari tribe, and as a sign of courage, they are placed on the graves of young people, athletes, and great and famous people. These statues were built in the Zagros mountains and outside this domain in a vast area called Bakhtiari, which today includes several provinces, over several centuries. These statues, which have been made from the past to the present, with different forms and modes, are decorated with motifs that originate from the cultural, social, and religious history of the people of these regions. With the aim of knowing the periods of the stone lion, this article attempts to investigate the similarities and differences between the stone lions in Ardal and Bazoft regions in terms of the form and carved motifs and examine the concepts which these forms and motifs represent. The present research used the descriptive-analytical method and employed the comparative approach Library and field studies were conducted to evaluate and compare the stone lions of these regions. The results of the investigations show that the forms and motifs of stone lions are different in every family and clan. Also, the results show that the stone lions in Ardal region are older than the stone lions in Bazoft region, and the carved motifs on them are more detailed. Repetition of motifs carved on stone lions shows that a specific pattern dominates the decoration of stone lions. Also, the theme of these motifs and the forms of stone lions reflect the spirit of Bakhtiari people and their cultural and religious values.

Sociological criticism of literary and artistic works is not the result of one person’s perceptions, but the product of a large social group or class reaching the maximum possible consciousness and coherent totality. The play “The Story of a Journalist” was written and performed during the constitutional revolution and was one of the successful theaters of that time. Therefore, it can be understood that this play was developed based on its society and time and seeks to give a meaningful response to the situation of its time. The problem of this research is how this well-known work responds to the social conditions of its time and presents its worldview in response to the class system of its time. This research employs Lucien Goldman’s theories and presents the sociological reading of this play and analyzes the way it has meaningfully responded to its time, that is, the constitutional revolution. For this purpose, the analytical-descriptive method was used and various aspects of this play were examined using library resources and the theories of Goldman’s genetic constructivism. Examining the different components of the play in the two layers of Comprehension and Explication has shown that this play narrates the coherent totality of the intellectual class or the new middle class. The characters of the play are the representatives of the mentioned class and consider the newspaper as the solution to their consciousness structures and in this text, the structure of the newspaper is analyzed. In this review, the newspaper was scrutinized to get some of the main concepts of the constitutional revolution, such as the freedom of the pen, confronting oppression, or prohibiting evil. Then the problems of the newspaper and its criticisms were put forward. But in the end, from their worldview, the characters of the play, despite the problems of the newspaper, especially in Iranian society, know its benefits are more than its problems and start a newspaper and recommend it.

In the Qajar period, carpets with famous names were reproduced on a large scale. The images of explorers, philosophers, prophets and kings are depicted in these carpets, and the last figure in these carpets is dedicated to Napoleon. In every reproduction of these carpets, there are changes in the figures of the first row compared to the original, in the Mahfouz carpet in the Niavaran Palace, which is the sample studied in this research, this change is in addition to the addition of Iranian kings in Around the main field, there is the addition of the image of Jesus and the removal of the image of Prophet Muhammad in the first row. Therefore, this research seeks to answer the question why in the carpet in Niavaran Palace, the figure of Jesus has replaced the figure of Prophet Muhammad in the oval-shaped border and background?To explain the role Muhammad and Muse in famous carpetsResearch method In order to reach the appropriate answer, the research data, which has been collected by the field and documentary method, has been analyzed in a descriptive and analytical way, emphasizing Wolff's opinions.Based on Wolff's point of view, it was concluded that the famous carpet of Niavaran Palace is one of the important productions of the Qajar period, which was created within the discourses of antiquarianism and intellectual currents, which is reflected in the diminution of Islam by removing the Prophet. and by substituting the image of Jesus it implicitly points to the superiority of Christianity. In this work, despite the presence of other figures related to Islam such as Omar, there is a kind of anti-Islamic ideology by removing the prophet of the Islamic world.

Given the people`s understanding is the reason for interpreting the meaning of phenomena, the thinking structure that makes this understanding possible is very significant, as it can be supposed that any objectivity outside our understanding organization would not be achievable, so that we are required continuously a situation (time-place based or a physical structure) to interpret the phenomena, as being neutral is impossible and favoritism is an inevitable outcome. Acknowledging this prelude represents the vital nature of these concepts and principles, and its necessity for constituting the foundations of the thinking structure, as a possible way of understanding; thereby if these structures are facing issues, they may encounter any other type of action with problems, despite initially looking a solid precise concept; Anyone who does not comprehend the imaginary nature of this magic words (Hafez), his/her depiction is not acceptable, even if he/she be a skilled Chinese portrayer. One of these thinking foundations that requires criticism is the principles derived from the ideas of western orientalists or the local areas under their influence. In a complicated process, the presumptions of these groups have led to the statement of “transition theory” as an obvious idea. The presumption of this theory says that the road to progress is the exact one that has been experienced in the West and it should be followed step by step to achieve development and live a happy life. Therefore, any type of subject that is realized under the influence of transition theory requests criticism to be passed through and not to get stuck at the level of localization.

Considering the important position of mosque in the Islamic world, referring to the first mosque built by the Prophet (s) can lead to new interpretations of the mosque and its design. Paying attention to the jurisprudential sources and narratives of the past centuries, along with the traditional attention to historical sources of architecture and landscape, is a way in this regard. The Prophet's reluctance to roof the mosque on the condition of necessity, and his desire to simply architecture the mosque and the borderlessness between the seraglio)shabestan( and the courtyard, as well as preventing the planting of trees in the courtyard of the mosque are some of the points that have been discussed in jurisprudential and historical sources. Raggles has not paid attention to these issues in the schematic design he presents in the book "Islamic Gardens and Landscapes" from Al-Nabi Mosque.