فصلنامه کیمیای هنر
پیاپی 44 (پاییز 1401)

The contemporary philosopher Jean Baudrillard, one of the postmodernism theorists, considers representation in the contemporary world as a factor in the disappearance of reality. In his view, the main feature of new arts is not the expression of artistic beauty, but communication with the audience and expression of the artist’s ideas. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork.In this research, we have tried to answer questions such as how audience underestand an interactive work and how reproducing and interpreting signs in interactive art form the Baudrillard’s concept of Hyper reality. Also we try to answer the question of which factors convert the interactive art audience experience to hyper reality one? To achieve this goal, the present study uses descriptive-analytical methods and data collection using written and digital sources. We have examined some interactive art implemented in the prestigious Artech house and Flutter galleries in recent years to achieve concept of hyper reality in interactive arts.The results show that interactive art can create an example of hyper reality experience for the audience and factors such as interaction, imagination, sense, subject and object, provide a common border between interactive art and Baudrillard’s theory of hyper reality.The lack of reference to the real world in these works demonstrates Baudrillard’s creation of the hyper reality in interactive art. The interactive art traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers the hyper reality world as their main goal. The audience is exposed to responding and expressing the work rather than trying to underestand and judge, and the audience becomes a part of artwork and becomes an art object. It immerses the audience in hyper reality world.

This research tries to explain the place of animals in the process of ethics and political economy and based on selected examples, studies and analyzes the art of protecting the animals. It should be noted that although the moral status of animals has been developing in recent decades, economic systems determine the hierarchy of beings in societies. According to the modern philosophers, art as a tool of knowledge has a great ability to know the world and its related matters. In addition, by producing various works in defense of animal rights, artists also play a significant role in raising awareness and development, which is worthy of attention. This research tries to describe and analyze a selection of posters, illustrations, and graffiti by artists such as Sue Coe, Arabo Sargsian, Banksy, and Hamidreza Pourakbar based on library data. The findings of this research indicates that the idea of creating the desired works in accordance with the life experience of the artist is an effort to recognize the rights of animals, which significantly plays a role in promoting public awareness in parallel with philosophical and economic studies.

Royal Portraiture is one of the last Iranian miniature styles which more or less can be considered a Synthesis Style of Iranian and European elements. This style was inspired by Westernization, but underwent important changes during the Qajar era. In this research, one tries to analyze and interpret one of its ruptures that occurred in the era of Mohammad Shah. The main issue of the present project is to study the ways this rupture and its consequences were occurred in Qajar visual culture. For this purpose, first, the main features of Royal Portraiture before and after the Fath-Ali Shah era were identified and then, the ways of the occurrence of this rupture were described. After that, based on Michel Foucault’s thoughts on the concept of the technique of power, the consequences of this rupture were examined. In this project, which was based on qualitative and analytical research method, after conducting studies, the result obtained from this study shows that the rupture of the Royal Portraiture was taken place in representation of body figure and in the discourse of chronology. The consequence was that, this rupture as a technique of power-record, in addition to reproducing this discourse, replaced metaphorical logic with realistic language in visual culture.

Many patterns of ancient art and architecture have been designed based on religious beliefs and orders in the Indian continent. One of them is the wisdom of sacred art Vastu Purusha Mandala. This knowledge is related to square plan that has its roots in the ancient Indian religious texts  that so called Vedas. The mandala has three main shapes: circle, square and triangle. Although the circle is its basic form in art and architecture but form of fire mandala is triangle and earth mandala have a square shape. Hence, the square form, which represents the mandala of the earth, is used to build temples. The purpose of this article is to know the forms of mandalas, analyze the map of Vastu Purusha Mandala and its impact on the religious architecture of fire temples in pre-Islamic of Iran. The result of the study shows that the Iranians were influenced by the wisdom of Vastu Purusha Mandala the construction of the fire temple, which this Vedic knowledge has ancient and common roots between Iran and India. The form and content used in the features of the fire temple follow the wisdom of Vastu and can be applied to it. Fire temples have four doorways, the Altar in the central square plan, circular dome on the base of the square and sanctification the basic four elements in the fire temples, especially the element of fire and keeping the clean air and space in the holy place. These elements are features common between Hindu temples and fire temples. Also in the subject of sacred geometry, squaring of the circular form is the result of the equality of earthly and celestial altars that can be seen in Hindu temples and fire temples.

This article intends to research the categorization and separation of “handicraft of Iran” in relation to the “Westernism” and “Orientalism” discourses in the Qajar discursive atmosphere by discourse analysis method and answers the questions of how “Handicrafts” is categorized at this intersection in the Qajar period, and how did these applied works changed into functional objects in the service of articulating those discourses, and the subject of the “artisan artist” was emerged? The results show that in this period, during Iran’s confrontation with the West under the Westernism discourse, the hegemonic structure of the Orientalism discourse and its actors in Iran such as Murdoch Smith, the actions of Royal discourse subjects (such as Shah) and their cultural and economic decisions to move west, led to the categorization of Iran’s handicrafts based on the “material of the work”, which still dominates this field. In this discursive atmosphere, the works of handicrafts that were previously used in the context of the lives of kings, courts, religious rites and people, turned into objects with an identity function (representing Iranian identity) in the discourse of modernity -for which everything was the object of study- and they served and articulated the Orientalism discourse, and during this process, a rupture appears in the concept of the “artisan” subject and shifts to the “artisan artist” subject.

This article aims to study the significant language and expression methods of Abbas Kiarostami’s cinema by analyzing the context and structure of a movie titled Shirin, focusing on its narrative and internal elements in a deconstructive manner .The movie is a masterpiece in which life’s passion is intermingled with death, nothingness, and despair. Analyzing the movie Shirin is an attempt to rediscover human nature and its relation with the truth beneath life. Through deconstruction, we can comprehend the narrative as an anti-narrative, actors turn into non-actors, the audience becomes the active actor, and the director can be identified as the sole and primary creator of the picture. A criticism of the structure of the cinema from within itself is taken into consideration in this feature. The current paper seeks to find the answer to the following questions: How are language and expression achieved in Shirin movie? How is the content of this movie conveyed to the audience, and how is the viewer’s position explained within the process of perception and understanding of the film? This article is conducted with a descriptive-analytical method to improve the understanding of art-house cinema. Drawing on the opinions of Jacques Derrida, the results indicate that the film Shirin while presenting both the passion and suffering of love in a fluid, dynamic and deconstructive process focuses on many characters of Nizami’s including Shirin along with their personal and inner stories. The movie’s content conveys a new perspective by modifying and deconstructing dual confrontations in form and content and reveals the distinguishing aspects of the cinema audience in a position of creating meaning while transforming the perception of the viewer and his role in the cinematic discourse