فصلنامه کیمیای هنر
پیاپی 48 (پاییز 1402)

The main goal of architecture is to give place a perceptible existence. The term "place" has a special meaning in architecture and is not considered just a place where building takes place, as in any other place. In order to perceive an architectural work, a better understanding of place is essential. An understanding that considers place as a totality, intimately interwoven with the human being, uniting the realms of thought and sensation, so that the object-subject dualism is suspended. Martin Heidegger was one of the most famous philosophers whose intellectual method was hermeneutic phenomenology. Accordingly, this study aims to examine his approach. It provides an accurate and fully searchable interpretation of the hermeneutic phenomenology of place in the design process. It is a qualitative research with a hermeneutic phenomenological approach that has an interpretive goal (studying the comparative literature of philosophy and architecture). Through the use of library studies as methodology, the research aimed to find foundations and operational steps to organise early scattered and incoherent materials. Data were collected based on library research. The research results indicate that hermeneutic phenomenology can be used in the process of architectural design. Therefore, it is possible to create a model for architectural design based on a phenomenological method to understand an architectural work based on the cycle of hermeneutic phenomenology of space according to Heidegger's thought.

The film Banshees of Inisherin by Martin McDonough (1970-  ), in the shape of a black comedy-tragedy, shows the transformation of friendship into endless enmity between two friends, interlocutors and companions. This research assumes that the transformation of friendship into enmity shown is based on the ontological difference of two existentialist horizons, and it cannot be simply a temperamental disorder and a social difference or other things such as these.Based on the mentioned assumption, relying on the fact that the two friends are established in two different areas of language, i.e., Speech, Discourse- Language/ Rade and Idle talk / Gerede, an attempt will be made to clarify the difference in horizons that is first revealed to one of the two friends, relying on the book of Being and Time. Finally, its tragic end should be reflected upon and an attempt will be made to show how the distance and ontological difference and the different way of living in the field of language can turn a close friendship into the fire of war and blood continue to convert.Understanding/ Verstehen, it is not possible for one of them to return to the past. The other friend, without the ability to imagine and understand this transformation of Dasein as a friend, tries to turn it into war and fire.

In his exposition of the internal faculties, Ibn Sina considers the imagination to be indebted to association and describes imagination as the factor of creativity and actual perception; because it perceives and at the same time, undertakes an action through manipulation of the forms and meanings. Faculty of imagination can heed the particular or universal affairs in order to manipulate the forms and meanings. This faculty needs a spiritual ascension in the light of Active Intellect for perceiving the intelligible and if the perceiving soul becomes substantially connected with the Active Intellect; he would be able to see the intelligible forms present by himself. After seeing these immaterial images, the manipulation done by the imagination will be an intelligible and abstract quality. The significance of the subject becomes further clear when the soul and the faculty of imagination are for the Muslim miniaturist. Religious perspective and the social mission of the miniaturist restrict the circle of manipulations of the faculty of imagination and do not accept any extension of imagery for conveying the meanings. Among these cases, one can refer to the painting of “Zakarya Hiding inside the Tree”. Which sensory and intelligible qualities have inspired the imagination of the painter in drawing the compound images of the faces of the persuaded figures? This research uses a descriptive-analytic method to argue that the painter’s imagination is illuminated by the light of Active Intellect which gives it an intelligible quality. Under the guidance of intelligible imagination, the persuaded figures have been drawn with compound human-animal images so that they can not only sensibly reflect the non-sensory rather to serve as a reflection of the intelligible quality of the non-sensory. From this perspective, human form and animal nature have been reflected on a human body.

By studying and examining general, dynastic, and sultanic chronicles in the Timurid and Safavid periods, we see an increasing attention to art and artist in them. This attention includes a range from scattered references in some historical texts of the Tīmūrīd period to dedicating an extensive section to the class of artists in the texts of the late Safavīd period. Each historian, depending on his period and approach, has dealt with art and artists during political discussions and events, and has described and judged them. The current research was aimed at analyzing the historical texts of Persian art, and sought to answer the question, how historians criticized, and judged art and artists? The research method is descriptive-analytical, with a focus on content analysis and the method of collecting information is library based. The findings of the research show that historians have used different methods such as enumerating moral and behavioral characteristics, proximity to the royal family, technical characteristics of the works, comparison with each other, the material value of the works and the opinion of the audience. The result of the research shows that these criteria can be identified in the form of four trajectories or branches of historiography by focusing on each of the four main components of art criticism, i.e. artist, work, society and audience. These trajectories include the historiography branch of Hāfez Abro and Samarqandī, who paid attention to the artist in the light of politics; Khāndmīr, Romelū and Wāle Esfahānī branch focusing on the artist, Bābor and Doghalāt branch or the Indo-Mongolian branch focusing on the work of art and Būdaq Monshī and Eskandarbeik branch focusing on the society and the audience.

Classical narratology was mostly based on a biased reading of Plato’s The Republic and Aristotle’s Poetics, which considered mimesis as mimics and gestures in dramatic literature and diegesis as narration in novels and fiction. Through this perspective, the act of narrating and the presence of a narrator became the necessities for the texts being analyzed narratologically. However, the two terms mimesis and diegesis are much more complicated and the division is not that strict. In addition, although since the beginning, drama in Iran and Turkey has always been dependent on diegetic ways of narrating, after becoming familiar with the western drama by translating and adaptation, the writers in these two countries, started to adopt mimetic approaches. The first examples of this new journey are the Collected Dramatic Works of Mirza Fath-Ali Akhundzadeh by Iranian playwright Akhundzadeh written between 1850-1857 and The Wedding of the Poet by Ibrahim Sinasi in 1859, Turkey. This comparative study aims to analyze the narrative of the plays The Miser, a play from the collection, and The Wedding of the Poet through the framework of mimetic and diegetic narratology. Accordingly, these two plays both show relations to their ancestors and the diegetic characteristics are apparent in the plot, characterization and also, spatial-temporal aspects of these plays.

Among the works of past Iranian thinkers, there are key points in the theoretical foundations of art that reveal the rationale behind artists' distinctive perspectives on art. By referring to these points, it is possible to formulate the theoretical and doctrinal foundations of Iranian-Islamic art. This provides a direct criterion derived from the cultural context for the analysis and interpretation of Iranian art. It is essential to emphasize that Iranian-Islamic art is not devoid of philosophy. Imam Mohammad Ghazali is among the prominent Iranian thinkers who dedicated significant attention to the concepts of beauty and art in his discussions. While earlier studies have delved into his views on imagination, taste, and beauty, the present study focuses more closely on Ghazali's thoughts regarding the pinnacle of art, the artist's role, and the art audience. The objective of this study is to delve into Ghazali's criteria for assessing the value of art, ranging from the inferior (even prohibited) to sublime art. Additionally, the study explores the conditions and characteristics required by artists to create high-quality art, as well as the traits of the audience necessary for perceiving sublime art. Ultimately, the study aims to collect, categorize, and analyze Ghazali's perspectives on these matters. The primary research question addressed is: What criteria does Ghazali employ for evaluating the value and credibility of art, the artist, and the audience? The fundamental study adopts a descriptive-analytical approach, with information gathered through a review of written sources. The research findings highlight that, according to Ghazali, the significance of art's transcendence lies in its connection to morality, truth, beauty, awareness, and perfection. A sublime artist, according to Ghazali, requires a deep understanding, contemplation, and personal development. Moreover, the audience cannot fully grasp transcendent art unless they approach it from a moral perspective, with the goal of refinement and a genuine appreciation of beauty.