فصلنامه کیمیای هنر
پیاپی 46 (بهار 1402)

Maurice Merleau-Ponty, the twentieth century phenomenologist, believed that the body's functionality in sensual perception is a distinguished notion. From 1980s, a critical movement took form which made some changes in art works production in order to actualize a chiasm between the audience with an art work through senses. Farideh Lashaee, as one of the contemporary artists, in her recent works, has made use of videos to make rooms for hidden narrations. This article analyzes her Gone down the rabbit hole work in Tehran Contemporary Arts Museum _ the curtain painted from Iran's map with an art video of rabbits' leap into the map. The present article explains Merleau-Ponty's sensual perception through a descriptive-phenomenological approach. Afterwards, reliant on Merleau-Ponty's ideas, it intends to answer some questions analytically. What would be the roles of body and embodiment in perceiving the world from the painter's standpoint? How the euphony between video and painting would be actualized in the mentioned work? What would be the role of audience's body (subject) in her perception in such a work? Subject's confrontation with the hinted work is making a multi-sensual relations, how does the audiences' sensual perception  will come true? As a result, regarding the phenomenological approach, the main cocern rests on the painter as an embodied subject encountering the world while the body and sensation would be parts of her experience. Merleau-Ponty envisions painting as the representation of sensual experience. The euphony of the work is the outcome of the co-penentration of the sensual characteristics in Merleau-Ponty's viewpoint. The audience's chiasm with Lashaee's work is an embodied interaction. With regards to Geshtalt in Merleau-Ponty's perspective, the audience's sensual perception, takes shape because of the unity of sensations. Eventually, in Lashaee's work, the subject's integration with her body gives rise to the sensual perception of the world.

The word “Eslimi” which has been coined to name a special motif in Iranian art is one of the most frequent words in the field of Islamic Art. Various research has been done on the initial origin of this Arabesque tracery and its historical development and evolution in Islamic Art; however, no research has been done to exclusively deal with the word " Eslimi" itself. It is evident that every name has its own denotation and connotation. As such, the present research is to reveal the meaning hidden behind the word "Eslimi" so as to help a more complete understanding of this tracery. In so doing, two aspects appear to be of greater importance. First, the word “Eslimi” is seemingly originated from an Arabic root meaning "surrender"; Second, there is a relationship between this arabesque and its pattern mediated by “prayers” as the most important practical teaching of Islam. The current qualitative research is of a descriptive-analytical nature, which also deals with the fields of semantics and etymology to some extent in the analysis of concept and meaning of the word. The results show that the word "Eslimi" was first invented in Persian language and was not influenced by any of the word-formation rules of Arabic namely Imalah and Qalb. Whether the word is forged from an Arabic root or made from an existing root in the ancient languages ​​of Iran, it is synonymous with the word "Islam" –according to historical sources– with the most obvious meaning of "surrender"; "Islam” is one of the most fundamental words in the Holy Quran. All in all, this arabesque tracery can be considered as a symbol that embodies elements of the prayers and expresses the submission and the surrender of man to God.

In the present article, the application of Lacanian meanings in the field of philosophical thought and their comparison with examples of contemporary art has been studied. In this context, theories such as "split subject", "gaze", "Other" and "desire" are applied to the works of visual artist Marlene Dumas. In fact, this research seeks to answer the question of how the philosophical concepts of Lacan thought are reflected in works of art, especially paintings? And can the representation of the status of the contemporary subject in art be explained by Lacanian psychoanalysis ?In order to answer the questions of this research, we first propose psychoanalytic theories about the human subject based on Lacan's views in this field and then adapt them to Duma's portrait paintings. This approach will be in the process of analyzing and interpreting the works as a mainstay against which the paradigm of time in art is evaluated.


The research method in this article is descriptive-analytical and the data are analyzed inductively using written and library sources. Based on the research findings, it will be determined that the contemporary subject is a split subject with lacking, doubting, being prepared and divided.







And by following contemporary works of art, this can be find by reading works of art with Lacanian thought, a new way can be opened to understand the contemporary subject, especially in art.

In traditional Iranian medicine, the environment is a serious variable in people's health due to its effect on perception. In this medicine, images is considered as one of the effective environmental factors to increase multi-sensory potentials, because shapes have important functions in maintaining health and treatment due to their expressive and meaningful characteristics. For this reason, doctors recommended using it to increase environmental capabilities. The purpose of this qualitative research is to investigate the effect of images on human health from the point of view of traditional medicine according to how affects her.  To achieve this goal, after examining painting in architecture and the basics of medicine, based on research keywords, were examined recommendations related to the effect of images and motifs on health and treatment from medical and historical sources. Then, by using the basics of medical philosophy, was discussed the impact of images on humans. The findings showed that the attitude of traditional medicine to the relationship between human and the environment is an interactive-adaptive attitude, and images with their own temperamental characteristics, which depend on the geometry (shape), color and theme of the image, Through perceptions, affect human emotional symptoms and cause changes in the chain of Natural Issues (Omur-E Tabieia.( As a result, it affects on human health by disturbing or balancing the temperament. Therefore, if the architects use shapes and images with suitable colors according to the needs of the users, they can create health-oriented architecture for the user.

The following article examines the nature of appropriation and adaptation of Abbaseh, king's sister play from the story of Neam and Nemat in the book of One Thousand and One Night based on Gerard Genet's theory of Hypertextuality. The author aims to prove or reject the hypothesis that the play bears certain expressionist dramatic characters using library sources with a descriptive-analytical approach. Gennet's theory and narrative elements are explained, then the stylistic changes and transformations are analyzed. In the end, the result is that the play has been approached to the style of expressionism by faithfully preserving some characteristics of Iranian stories.

In the 20th century, various artistic and literary theorists proposed the idea that meaning is indeterminate. It has also been suggested that different historical, economic, and geographical contexts can produce different meanings from a single text. These theories do not only mean abandoning the process of meaning production but also increase the need to consider the factors of semantic pluralism. This article examines the role of geography and history in shaping the meaning of subculture architecture by analyzing Christian residential buildings in Spurghan village, Urmia city. The research method is descriptive and analytical, and its general approach is inductive. The study shows that during the construction stage, subculture architecture buildings located near minority homes tend to use more elements of minority architecture. Additionally, if the minority culture has a longer history in the land used by subculture, architectural elements of minority culture will be more prominent in subculture buildings both quantitatively and qualitatively. In the interpretation stage of subculture architectural buildings, historical developments have a significant influence on interpretation differences.