نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 1 (بهار 1401)

This research looks at the role of intuition in art, followed by the view of two great expressionist philosophers of the 18th century, “Croche” and “Collingwood.” First, we get acquainted with the theory of expression and the concepts of intuition and imagination. Then we describe intuition in the art according to the definitions of Croce and Collingwood. The result of this research is that, according to Croce’s opinion, art is the same as intuition, and a lot of feeling gives unity to intuition. Intuition is an expression of intense emotion and can only be created when intense emotion is its source and foundation. What gives art heavenly tenderness is not imagination but intense feeling. At the same time, Collingwood’s point of view is based on Croce’s aesthetics and his knowledge of the shortcomings of Tolstoy’s point of view. The central role of Collingwood’s aesthetics is based on imagination. He takes and uses the two words of impressions and imagination from Hume. Impression can be considered a sensory experience. Like the sound we hear or the sight we see, these concepts have intellectual content but do not have sensory content. In Collingwood’s view, based on every action, there is an imagination, an impression, or a sensory experience that is transformed into an idea by mental activity. According to him, every imaginary experience is a sensory experience that is brought to the level of imagination based on the act of awareness. Collingwood’s opinion can be interpreted in such a way that the sensory and emotional experience in the work of art is not a raw felt experience or the same impression, and it can be interpreted as an experience changed by the artist’s thinking, imagination, and imagination. In general, it can be concluded that what Croce calls intuition in art, Collingwood expresses it in the form of imagination.

Literature can be considered the most important source of inspiration for Iranian painters. The Shahnameh also has a high place among Iranians, and the countless painting works created with the theme of the Shahnameh stories are proof of this attention. And therefore, the influence of literature on art, especially painting, cannot be denied. On the other hand, Iranian rulers in different periods tended to prepare illustrated versions of the Shahnameh and supported artists in designing this work. Tahmasabi’s Shahnameh was created at the request and with the support of Shah Ismail, and due to a large number of paintings, it gained superiority over other versions. Heroic characters in the Shahnameh are known for their excellent nature and strength of arms. But these characters are only created in literature, and finally, they make their way to paintings, and knowledge about them is very superficial. Therefore, in this research, the main issue is the visual analysis of how the hero’s character is portrayed in the painting of Tahmasbi’s Shahnameh. Focusing on the works of Tahmasbi’s Shahnameh, this research will study the visual characteristics of the heroic characters to achieve a model for designing a character with Iranian features. The research subject is four images from Tahmasbi’s Shahnameh. The current research has analyzed the data with a realistic and qualitative approach, and the library method and the phishing tool have been used to collect the data. The study is also applied in nature. The results of this research show that in the works of Tahmasabi’s Shahnameh, the hero’s character is shown in the utmost simplicity and without any particular complexity. They are not different from others and are not even more significant or prominent than others. The calmness of the face, compliance with the fitness of the limbs, firmness, stability of the body, small eyes, and small face are some of their appearance characteristics. These external characteristics are the objective embodiment of the traits Ferdowsi gave to his characters in the original text, which shows the loyalty of the painters to the original text.

Cyrus the Great, the founder of the Achaemenid dynasty, during his thirty-year reign, after the defeat of the Medes, Lydia kingdoms, and the conquest of Asia Minor, extended his rule to Babylon, Greece, and Egypt and was able to bring their tribes under his rule and appoint the leaders who were called satraps. , put it on them. This expansion of the territory caused peoples and nations to become familiar with Iranians, especially artists and artisans, and caused influenced each other’s works. In this article, an attempt is made to discuss the role of the column, its importance in Achaemenian architecture, and how it was influenced by the architecture of other nations (Greece and Egypt). The results of this research show that the art of Achaemenid architecture consists of several arts from other countries, including Greece, Egypt, Asia Minor, and Mesopotamia. The Achaemenians created a new art by combining these arts. It should also be noted that Iranian architecture has also had an impact on these and other nations. The use of the pillared hall in this way, which is attributed to Greece and Asia Minor, is completely Iranian because this construction method existed in Greece in the 5th or 6th centuries BC; In Iran, this type of work belongs to the 9th century BC. These halls have also been seen in the sites of Noushijan, Babajan, and Godin Tepe, which were built before the Achaemenid period. In Asia Minor, the Altin Apadana of the Urartian Hill is an Achaemenid Apadana. And its date is more recent than the history of the whole building, and it shows that this hall was built in the Achaemenid period.

Contemporary Iranian calligraphic art emerged from the Saqakhane school following the modernization process’s expansion. The Saqaqhana school tried to connect the traditional visual culture of Iran with modern approaches in the field of visual arts on the path of globalization with western art. Since the art of calligraphy follows the principles of spiritual and sacred geometry, there is a fear that the modernity and globalization of this art will be contradicted by the eternal matter in the mortal system and the center in the environment (sacred matter). Therefore, this research aims to measure the contradiction or harmony of the sacredness in calligraphy with the globalization of this art through a descriptive-analytical method. The statistics and information of this research have been collected through the library-document process. The study’s central question is, considering the concern of globalization in calligraphy, where is the sacred place in contemporary Iranian calligraphy and calligraphic works? After analyzing, applying, and studying the sanctity in five examples of calligraphy works of the 80s and 90s, we concluded that true sanctity is caused by the shadow and divine spirit that exists in the art of calligraphy and that these works with modern techniques And if they have been produced in the world or with essential tools such as pen and ink, it has no effect on expressing its sanctity.

Patterns and motifs in Islamic arts have a symbolic theme and their use in decorations, especially architectural ornaments, has a special place and importance for Muslim architects and artists. Using symbolic motifs, the Iranian Muslim artist, in addition to creating a beautiful and eye-catching atmosphere, shows the concepts hidden in them to the Muslim audience. This show has an essential mission in religious places that are a place for the manifestation of mystical and sacred matters. Among the most special of these symbolic motifs, we can refer to the geometric motifs, which have secrets hidden in their heart at the height of abstraction. Faryumed Jame Mosque, with its abundance of motifs and various decorations, contains comprehensive mysteries in its heart and is a treasure of symbolic motifs of Islamic art. In the conducted studies, these motifs have been examined and categorized in terms of appearance and type, and a brief introduction of each role has been made. But what needs a deeper and more comprehensive investigation of these motifs is to deal with the essence and secrets hidden in them, which is the main reason for their emergence and creation. The decorations used in Faryomed Mosque include two general categories of geometric and plant motifs; in this article, a detailed and in-depth analysis of the geometric motifs used in this mosque is discussed from a symbolic point of view.

The increasing trend of population growth and migration to big cities in the last few decades has created a crisis in the field of housing, and the importance of mass production of residential units has been raised more than ever. In the current situation, due to the high cost of housing, the design and production of small-sized residential units have become more popular, and many families, despite not meeting their needs, have agreed to live in small-sized units. The design of small apartment units based on flexibility can lead to the optimal use of space and meet many people’s needs. The current research aims to find the characteristics of minimum housing, analyze how flexibility works in minimum housing, and examine the conceptual model of flexibility in a case study. The research method of the present study is descriptive-analytical. In the first step, through library and documentary studies, the analysis of the practical components to improve the flexibility of the minimum housing has been done, and the conceptual model has been extracted. In the second step, the research model has been analyzed and examined in the case of Haruki’s apartment. The findings show that flexibility in the housing space helps meet the audience’s needs. It can be done in three stages: Design of the structure and space (hard work). Method of the final coating on the structure (thin work). Furniture and equipment are among the solutions to improve Spatial quality benefit. The results show that flexibility components have been paid attention to in the case sample (Haruki’s apartment), in the stiffening section of the mezzanine, to make the space multifunctional, in the carpentry section of folding and changeable windows to meet the needs and reduce visual disturbances, and in the equipment and furniture section. Folding and movable furniture have been used.

In a society, shows, like other arts, are formed from rituals, customs, sports-entertainment competitions, dances, political campaigns, and religious ceremonies. Accordingly, it has a close relationship with people’s social life. The show contains a kind of action, reaction, and conflict between good and evil. These shows have been formed in different traditions, periods, and social situations. It can be said that the developed shows are tiny and reconstructed images of people’s lives, myths, heroes, and other events. For this reason, understanding past events in the form of a show is crucial for people. As an example of these theaters, we can mention the gladiatorial show in the arena of the Colosseum in Rome and the the Ta’zieh Show in Iran’s Tekyeh Dowlat. Before gladiator was part of the entertainment world, it was the first competition and entertainment. The present article aims to define the theory of Aristotle about the show and deal with the structure of the components of the gladiatorial and ta’zieh shows. The goal is to achieve the structure and conventions of the show, which is very important in the formation of the show. This writing was done by document collection method. The results of this research show that in the gladiatorial show of the arena of the Colosseum in Rome, there was more entertainment aspect. In terms of structure, not much attention was paid to the stage and make-up, but more attention was paid to clothes and tools. In Ta’ziyeh of the state’s reliance, attention is also paid to the tools and war clothes. The difference between this show and the gladiatorial show is that it shows the event in a small way.

“Narrative of Conquest” is a documentary by Jihad of Construction TV group about the military-political events of the war imposed by Saddam’s Baath regime against the Islamic Republic of Iran. The director, editor, author of the text, and main speaker of this documentary series is Seyyed Morteza Avini. “The Battle of San Pietro” is a documentary made by a film production group based in the US Army during World War II. The director, the author of the text’s speech, and the main speaker of this documentary is John Houston, a senior officer of the US Army. One of the distinctive features of these two documentaries is that they were both made during the war and aimed to promote and encourage fighters to be at the front. Another common feature is representing a successful military operation leading to conquest. In this research, I will discuss directing and the director’s view on how to report on the battlefield. From this point of view, I will compare two documentaries made of two successful military operations. While comparing, investigating, and analyzing the director’s perspective on the war and the combatants in the process, this research shows two significant differences between Seyyed Morteza Avini’s and John Houston’s filmmaking points of view on wartime documentaries. On the one hand, this war is entirely different from all the wars that have occurred in the world in recent centuries. The war in Iran is a war of faith, and it cannot be compared with any other war, let alone the wars of the beginning of Islam. Another fundamental difference is in the goal of filmmaking.

Kamal ud-Din Behzad was the most excellent and skilled Iranian painter who radically changed Iranian painting. In Behzad’s paintings, emotion and reason are delicately and artistically balanced so that they never go out of the general aesthetic framework of Iranian painting. David Hockney is also one of the most important painters of the 20th century. He is considered one of the greatest artists of contemporary English origin, who started creating oriental art with a view influenced by oriental painting. He says about the art of the East that we Westerners have limited the space to one point of view and look at it through an open door, while the Orientals have entered the unlimited space into their art. In this research, by using comparative studies of the works of these two artists, I seek to analyze and examine the color and content as well as the points of commonality and difference in the works of these two artists. This research shows that Hockney’s favorite color is blue, and he drew two people in most of his paintings. The subjects of Hockney’s works have a domestic and private aspect, but the issues of Behzad’s works have a social and conceptual aspect. In Hockney’s works, it is as if everything is still and soulless and as if inner peace is hidden in the images of faces. In Behzad’s works, everything is alive, moving, and dynamic, and all this dynamism and movement in Behzad’s works are derived from his Islamic worldview. Behzad’s works are derived from Iranian-Islamic art and combine Iranian painting and his Islamic thoughts. Among the similarities between the works of these two artists, we can mention the lack of dimensions in Iranian painting and the presence of multi-dimensional space in Behzad’s works, the use of pure color surfaces, the creation of separate color plans, and the importance of the symbolic aspect of color, the design of color rhythm and the creation of the illusion of distances by using It can be mentioned from the color.

One of the most significant plant and ancient symbols is the lotus flower, considered one of the famous symbols before and after Islam. In various religions, this flower has been associated with the creation of gods, saviors, and prophets. In this research, the symbols of this flower are examined in the body of the eastern staircase of Apadana. In this research, the library method and the review and study of written reports have been used in a descriptive-analytical way with a comparative approach. The results of this research show that the lily is one of the critical artistic symbols in the context of history, architecture, and painting. The lotus is one of those plants considered in various rituals, and in Iranian mythology, the water lily is the symbol of Anahita, the goddess of water in Iranian belief. As the Iranians called the lotus flower, the flower of Venus, Venus is the main idea of ​​the female existence in the religious traditions of ancient Iran. The most obvious manifestation of the lotus in ancient Iranian art is in the Achaemenid period. The art of the Achaemenid period can be considered ritualistic and symbolic art, and the manifestation of these symbols is in Persepolis. In mythology, the lotus has been one of the great symbols of creation and is rooted in water, which symbolizes purification, purity, and rebirth. Because in the hand of the Sun God (Ra), there is a lotus, which can mean the appearance and manifestation on earth. The use of the lotus on the eastern staircase of Apadana, assuming that the stairs are a place for ascension and going to a higher level, while the circularity of the lotus signifies eternity, it can represent the course of the journey due to the repetition of this flower along the staircase. May the placing of this flower under the cypress tree, which had a spiritual aspect in ancient Iran and was the symbol of the god of plants, represents this course of walking under the banner of the Creator and can confirm the validity of this perception.