پژوهشنامه فرهنگستان هنر
پیاپی 26 (زمستان 1403)

In 1940, two movements emerged in New York. The first Abstract Expressionism, had branches labeled as angular or gestural (motion painting), nonverbal, action painting or lyrical abstraction. The second movement, Abstract Impressionism, focused on mental receptivity or intellectual impressionism. These movements combined Impressionism with abstract art and gained global recognition among artists worldwide. This article aims to explore the thoughts and ideas of painters, who rejected traditional art forms in favor of Abstract Impressionism. It seeks to answer questions about the factors leading to the emergence of this style, the influence of social and cultural trends, and how New York artists embraced new experiences.While some writers dismissed these movements in the late 1960s, Abstract Impressionism remains of interest to artists in New York and beyond. This article also aims to introduce the works of artists post 1960, as there is a lack of literature on Abstract Impressionism, also known as the “School of New York.” The historical aspects and influential factors shaping this style have not been thoroughly explored. This research focuses on artists who pioneered. Abstract Impressionism in New York and other countries a topic largely overlooked by Iranian writers. It delves in to the concepts and factors within this art movement, exploring the origins of modernism and modernity, the historical contexts of Impressionism and Abstract Art and the characteristics of Abstract Impressionism artists. By analyzing the factors influencing these works the research aims to provide insight into the emergence of Abstract Impressionism. The formation of Abstract Impressionism in New York was influenced by social and cultural currents, as well as a desire to break away from traditional art styles. These movements elevated New York as an artistic hub, establishing it as a center for modernism to thrive. The research methodology is descriptive-analytical, utilizing library resources and credible internet sources.

Masoud Arabshahi is one of the modernist painters and one of the most famous artists of the Saqakhane school, who tries to represent Iranian elements with a modern and contemporary expression. The paintings of this artist depict mythological themes. Among these topics, he has deeper and broader discussions of Avesta narratives and especially the book of Yashta. Yashtas, which are in praise of Zoroastrian gods and pre-Zoroastrian gods, have received more attention from Arab Shahi due to their pictorial characteristics. In his paintings, he has dealt with important Yashts such as Aban Yasht, Mehr Yasht and Tishtar Yasht. By using the elements of image expression such as color, light, creating texture and symbolization, Arabshahi has reached a personal expression in the Saqaqhana school or in general in the modern and contemporary art of Iran.His artistic expression is not only rooted in the written Avesta, but it can also be compared with relief motifs, mehrabeh and ancient motifs, which have a special sign system. Using the semiotic method, we try to identify the relationships between these images and the Avesta narrative and investigate the Arab Shahi modernist reading of the ancient written and engraved narratives. We want to answer these questions: What expressive material did Arabshahi use to represent the content of Avesta? What relationship does this way of expression have with the symbolic system of ancient motifs? The purpose of this article is to show that Arabshahi tried to represent the content of the Avesta through another expression, which is the narrative of the image.

Iranian handwoven carpets are a prestigious art form that effectively represents Iranian culture and identity. Among the suitable fields for cultural interaction, artistic works are considered comprehensive reflections of the culture and national identity of each country. Iranian handwoven carpets are prestigious art that can effectively represent Iranian culture and identity. As a multifaceted phenomenon, handwoven carpets not only contribute to employment and the livelihoods of a large portion of the population but have also served as carriers of the history, culture, and art of this land across generations, playing the role of a cultural ambassador for the country. This research aims to identify and introduce the potential and capabilities of Iranian handwoven carpets in cultural diplomacy. The central question of this study is: What capabilities and capacities does this art possess in supporting Iran’s cultural diplomacy? To address this question, we analyze a variety of handwoven carpets from different periods, engage in discussions with producers of diplomatic carpets, and consult experts in the field of cultural diplomacy. The analysis of the collected data seeks to answer the research question. The findings indicate that in implementing and advancing Iran's cultural diplomacy policy, handwoven carpets, as a compelling representative of the country’s art and culture, can enhance Iran’s cultural relations with other nations. It can also direct art enthusiasts and professionals toward the commercial market for handwoven carpets while leveraging its role as a symbol of national art to contribute to national interests in foreign policy.

In the digital age, new challenges arise concerning participatory art and environmental crises. Digital artworks, as discursive systems, not only interact with the audience but also turn this interaction into a tool for addressing various issues. Digital art, through raising awareness and encouraging active audience participation, provides a platform for understanding environmental crises. Visual expression, as an effective medium, conveys subjects in an accessible way while simultaneously showcasing their aesthetic and imaginative dimensions. With the growth of new technologies, questions arise about how digital artists utilize space and interactions of meaning in environmental works to reference lived experiences in society. What features allow the boundaries of meaning to shift, bringing the audience’s lived experiences to life? This research adopts a qualitative approach and discourse analysis method to examine three works by Rafael Lozano-Hemmer. The data has been collected through library research, aiming to explore the meaning in environmental artworks from the perspective of semiotics. In this regard, the bodily and social relations within the artworks, particularly their interaction with the audience and the role of space in the aesthetic and conceptual experience of the viewer, are evaluated. The results indicate that Lozano-Hemmer, by creating interactive spaces, conveys the environmental crisis to the audience in an experiential manner. Through the creative use of space and strategic ideology, he articulates the connection between humans and the environment in a tangible and conscious way, reconstructing the audience’s sensory perception in an interactive space.

The term "tragic" refers to a particular aspect of the world and life in which humans struggle against forces that overpower and ultimately destroy them, or at least reveal their helplessness and misfortune. The issue addressed in this research is the typology of tragic errors in Sophocles' plays from the perspective of Ivan Pavlov's behaviorism. The research method is descriptive-analytical, and the material collection method is library-based. A review of Sophocles' biography reveals that he was pessimistic about life, and this pessimistic spirit is reflected in his works. Examining tragedy leads us to conclude that tragedy is always inevitable, especially in Greek and classical tragedy, which depicts human powerlessness in the face of what is written in the heavens. Sophocles had a firm belief in fate. In a tragic work, fate often manifests itself more palpably through the mask of logic and natural circumstances, completing the hero's downfall. The result of this research shows that in Greek tragedies, we encounter a form of cosmic justice and fate that seems foreign to us. Oedipus punishes himself for his unwitting sin. Antigone pays for the deeds of her family members. Prometheus suffers due to his benevolence, and Ajax becomes a plaything of the gods' whims.

The present article reviews and examines the story of Abji Khanum by Sadegh Hedayat based on Goffman's stigma theory (1963). "Abji Khanum", the protagonist of the story, has a not-so-beautiful face and is therefore rejected by society, especially her family. This article, using a descriptive-analytical method, attempted to answer the question of which of the components and themes of Goffman's stigma is most evident in this story. According to the results of the research, the most important stigma in the story is the feeling of disgust, rejection, and social and family dissent in believing this character as a woman.