فصلنامه کیمیای هنر
پیاپی 9 (زمستان 1392)

The scholars of pre-modern Iranian art have been confronted with a basic problem: can one talk about an aesthetic of pre-modern Iranian culture? One way to approach the privileged aesthetics in any era is studying the basic concepts of art in its written sources. Naqsh (pattern) is one of the most important concepts in pre-modern Iranian culture and all the arts deal with it. Rumi’s Mathnawi is among the most important written sources of Iranian culture: it is not only a manifestation of its contemporary culture، but has also affected the Persian and Persianate culture of its period and the next periods so far. As the subject of the present research، Mathnawi is full of explicit and implicit connotations to the patterns، forms، images، and meanings in various artifacts and arts. Therefore، the concept of naqsh is one of the basic doors which opens to the aesthetics of Mathnawi. In Mathnawi، naqsh has a dual meaning: one about the works of painting; the other as a synonym of the concept of surat (form). However، Rumi by the both meanings invites the reader to pass from the realm of manifests and forms to the realm of transcendental meaning. It is the very invitation from the pattern to the beyond of pattern that forms the heart of Rumi’s aesthetics.

Ta’ziyeh as a ritual performance is the most significant representation of the Iranian traditional- religious culture. Although Ta’ziyeh has been mostly researched either from the ritual or theatre aesthetic perspective، the ritual and theatrical elements in Ta’ziyeh، as other religious plays، are interwoven. Considering this interweaving، the aim in the following article is to show how، from the aesthetical point of view، there are a dynamic relationship between actor and audience in such a way that the audience is a co-player and the actor is a co-audience in Ta’ziyeh. In this way، it can be redefined anew the role of audience، specifically female audience. By participating in each performance،which has its own time and place، the audience and performers in Ta’ziyeh are able to experience a “liminal” and “in between” time and space. Regarding this aspect، the other aim is to demonstrate how this feature has a double -dialectic function on the audience، particularly female audience. On the one hand they repeat and stabilize their social and cultural identities; on the other they segregate themselves from the daily life and its belonging conventions and norms.

The ancient Greeks were trained based on poems of Homer or tragedy writers، and Plato، almost in all his works، especially in “The Republic”، which is the most complete and best-known one، is the enemy of poetry and tragedy and the training methods based upon them. In three books of it، i. e. second، third، and tenth، more than any of his other writings، he suppresses poetry and tragedy، and with reasons، puts the poets and writers of tragedy outside his ideal city-state. Plato argues that the primary reason for this is the falseness of stories، or saying not the whole truth. He then deals with the imitation and by introducing the Universal Forms (Ideas) and the allegory of the cave، describes the imitators as those imitating the picture، which itself is an imitation of the truth. They، then، are three phases far from the truth. At this area of the visual arts، there are imitators، both painters and poets، who are the tragic writers. Plato، dividing the human soul into the noble part and the ignoble one، accuses poets because they excite the latter part of the human soul. Plato، who is looking for a new training method based on the philosophy for his utopia، does not mention it in The Republic، but at The Laws، which is the work of his old ages and his maturity، describes clearly his writings as a good example of philosophical training for the ideal city.

For centuries، artworks belonged to determinate spheres of art media like painting or sculpture which have had their own boundaries and laws. But after 1960s، the boundaries between media and also in general between art and non-art have been disappeared. By the increasing possibility of an ordinary object to be an art object، the meaning of media started to change. In 60s، the origin of artwork was not in its object; but the origin was searched in everyone’s experience. The object، just by being in field of perception، could make possible aesthetic perception. When every day perception and the experience find the main role in art of post-modernism، the theory of French phenomenologist Maurice Merleau-Ponty will give us possibilities to take an accurate look in these changes in art. In this article، his ideas of embodied perception and the correlation of sensations، and also the relation of them with new media are studied.

This essay is an attempt to view deconstructed notion of “Undecidability” and analyze readings that focus on a few paintings. The central argument of this study consists of two main sections. First، the formation of the West philosophy and strategies of deconstruction will be explained. Jacques Derrida developed a strategy called “deconstruction” in the mid 1960s. Deconstruction is generally presented to subvert، the various binary oppositions that undergird our dominant ways of thinking—presence/absence، speech/ writing، and so forth. The deconstructive strategy is to unmask these too-sediment ways of thinking، and it operates on them especially through two steps—reversing dichotomies and attempting to corrupt the dichotomies themselves. The strategy also aims to show that there are undecidables، that is، something that cannot conform to either side of a dichotomy or opposition. Indeed، to complicate matters، undecidability returns in two discernible forms in his explorations of these “possible-impossible” aporias، it becomes undecidable whether genuine giving، for example، is either a possible or an impossible ideal. In the second part، the three paintings of Alireza Espahbod (1330-1385)، Iranian contemporary painter deconstructed reading and analysis will be described. His major works، the study of the visual masterpieces، which are known in the history of art. Amongst our contemporary artists، a few have particular social presence. We see different periods of the artist’s works with the topics of three of these titles works: “FREEDOM”، “RED HORN”، “RED HORN (detail)”. At the end، describing and analyzing Espahbod’s paintings can be pluralistic approach in Deconstruction reading. The main objectives of this research are: Understanding concepts of “undecidability” as pharmakon، Supplement، Khora. Then feed these concepts from the perspective of deconstruction and read the text as examples of paintings. The results of this strategy are the potential of “Deconstruction” for the analysis and study of the Art domains suggests.

In this essay، the phenomena of Fear and Angst/Anxiety are analyzed according to Martin Heidegger''s thought only to prove that this significant field is defined as a range of inauthentic fear toward authentic angst/anxiety and it is revealed as»happening of truth«or strife between world and earth، in Film world? Monster، as embodiment of evil and constitutive pivotal element of Horror Cinema، is manifested in various appearances of phenomenon of fear. Horror Cinema via projecting fundamental elements of Heidegger''s hermeneutic analysis (i. e. world، death، guilt، projection، authenticity and inauthenticity) in relation to Dasein in terms of a cinematic expression، makes the disclosure of»happening of truth «in the film world possible via audience contribution، as an interpreter Dasein engaged in this world، and the revealed» happening of truth«in this Cinema is phenomenon of Fear and grounding attunement of angst/anxiety which is uncovered in a cinematic world.