HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2015 | Volume:19 | Issue:4|Papers Count:8

Mikel Dufrenne is one of the most important figures in phenomenology of art. His voluminous book named phenomenology of aesthetic experience has created a fundamental development in aesthetics, which continued and formed the book called about poetry. This book is one of the most considerable events in modern history of philosophy, and also the second complete French work as "phenomenology", and only in this case Merleau-Ponty's phenomenology of perception takes precedence. Dufrenne undoubtedly has been fully informed about works of different philosophers such as: Moritz Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman Ingarden and his emphasis on the role of art in shaping the actions of intentionality is sufficient; and has completely read Sartre and Merleau-Ponty's works. Also, in their essays covers a lot of ground and draws into his discussion on aesthetics a whole range of thinkers, including Barthes, Foucault, Lyotard, Metz, Freud and Derrida …. These essays are well worth reading both for the quality of the writing and for the continual insights which come to the surface along the way. From the very beginning he clearly does not follow the exact footsteps of Husserl, but he wants to understand phenomenology as Sartre and Merleau-Ponty used this French term. Aesthetic perception is one of the controversial discussions on the new aesthetics that Dufrenne has tried to express it from a special point of view. In his idea, artwork provides a structure for an aesthetic object which is the most important distinction between these two in perception. In this paper, we try to determine this differentiation and show the process of aesthetic perception and role of imagination from Dufrenne’s point of view. Dufrenne distinguishes three stages in aesthetic perception. The first stage is presence which he is influenced by Merleau-Ponty at this stage. The second stage is imagination which he is influenced by Sartre and the third stage is perception and feeling influenced by Kant. In Dufrenne’s idea in understanding the art work, the spectator of art work should understand these three aspects simultaneously. Therefore, in this quest we try to examine the second stage by descriptive and analytical method and also propound the impact that Dufrenne got from Sartre. Library research and writing studies and theoretical study of internal and external sources, we have analyzed the views Dufrenne. A qualitative approach to data analysis is based on a phenomenological approach. Also, the influence of Sartre Dufrenne been mentioned. Finally, Dufrenne concluded that imagination is a process of perception and protests Sartre for neglecting understanding because of the mind and emotions and considers this negligence the reason of Sartre’s misinterpretation of aesthetic experience. Emphasis on aesthetic perception, Merleau-Ponty Dufrenne closer to the generally accepted position. He tries to talk about the perception of the nature of aesthetic experience to explain and discuss the position of Sartre and Merleau-Ponty on the Judiciary emphasizes the fact that the perception will be driven approach. However, the discussion of the object and its relationship with Merleau-Ponty perception is also controversial.

In the modern era and through abstraction, art turns to a path in which the beginning and end of an artwork get closer together than in any other era in an attempt to make the minimum space between the subject and the object, or the work and viewer so that the work is created while receiving the minimum influence from the external world and maximum closeness to the very essence of abstraction and artist’s mental and personal picture in mind. In order to omit as much as external influence as possible, the modern artist tries to omit verbal and narrative elements from his work which in the end forms the main basis of abstract creation. Therefore, it seems that in the period dominated by the linguistics and comparative literature, the path of visual representation tends to an anti-narrative creation in which the painting turns to silence and the abstract art in particular is inclined to a kind of visual language of forms trying to erect a wall between visual and verbal elements. The decision of abstract art in making a silent work and bringing the representation to an exclusive visual territory as well as the artist’s obsession with eliminating the verbal and literal elements from art, is itself a manifesto of this tendency in art. But, the main paradox here is that the modern artist, more than any other era, is affiliated to and dependent upon the modern ideologies as well as the literal and linguistic theories governing the period and this is contrary to the objective of narrative elimination and creation of a pure abstract art. In the present research, after analyzing the process of elimination of narrative elements and natural comparison from visual representation and the change in relation of representation and truth, the elimination will be visually explained in selected works of abstract painting art based on which one could claim that in an attempt to eliminate narration, the abstract art completely outcasts the very act of art creation and tries to make a minimum or no communication between the work and the viewer in favor of making a silent art which unfortunately resulted in abstract art becoming a mere bourgeois style. The abstract artist’s main goal is to create an independent “text” capable of justifying its existence on its own and free from any external influence other than those raised from the artist’s mental and personal experiences. On another side, the undeniable reliance upon the modern ideologies and the governing literal and linguistic theories is in complete contradiction with this claim. In the modern era, despite of the claim for creating pure abstract art, artists are more prone to the governing literary and linguistic theories which makes creation of a pure art almost impossible. The results of this research show that at the culmination of abstraction and narrative elimination, abstract art somehow exits the cycle of representation and turns to existence; an existence which cannot be included under any definition including the definition of representation itself.

Nowadays “Design” is considered as an independent discipline which is neither a science, nor an art, but an interdiscipline with strong relations with both art and science. Therefore, this new understanding demands reidentifying all design sub-disciplines. “Space” as one of this sub-disciplines, has a pivotal role in shaping form in both design and architecture. While concrete understanding of Space is of vital importance in the field of design, architecture and interior design, yet there are not ample scientific analyses about the relation between form and space. This understanding depends on having efficient scientific critique methods. Nowadays, new criticisms are used to analyze and read different kinds of text and shows acceptable results. “Intertextualism” and “Intersemiotics” are two of them. Julia Kristva and her associates in Tel Quel group popularized the intertextualism since 1960s and nowadays, there are many different schools under this approach. Beginning form literature criticism, intertextualism is utilized in different fields of art, for reading different kinds of text. Usinfg intertextualism in different art forms evoked the need to undertsand the interaction between different semiotic systems in a text. Not just in arts (arts except literature), even Roland Barthes determined five parallel code systems in a literary text. According to intersemiotics, we are faced to a text, not a messeage and every text is shaped by interaction between different code systems. There are many parallel cod systems that convey the meaning. The interaction between cod systems generates a new cod system. Hence, Intersemiotics is a new effective branch of intertextualism which, despite its capability, has not been developed in design and architectural N studies yet. The so-called space is a text by many different intersemiotic cod systems, thus, the aim of this research is studying the relation between form and space through intersemiotics analyses. In order to achive this goal, at first in literature review, the literature of intertextualism and intersemitics have been studied. Then, the terminology and diverse identifications and concepts of form and space have been reviewed. Based on literature review, there are two type of approach toward relation between form and space: the architectural approach and the designerly approach. Based on the first one, space dominates form, Space as a whole shapes form, as a detail. In contrary, the designerly approach is on the opinion that space is shaped by the relation between forms. This research is based on the second one. In the second phase, according to excavated concepts, factors and designerly strategy, the cod systems that are ambient in form were identified, then the intersemiotic relations between forms in the space were analyzed. According to conclusions there are four (visual) code systems which are efficient in understanding the space: physical dimension codes, visual codes, significant codes and hidden dimension codes. Each of them have its sub-codes. According to these codes the spatial relations of form with other forms are classified into two classes: the relation with forms of other products and the relation with form of architectural framework. Finally according to the codes, a framework has been developed.

Iconology as an approach- method in Art history Studies which has had a long history and in Iran has always been the center of attention and many books and articles have been compiled about this method. The studies in which this method is used, the studied works has had historical record. In spite of using this method in modern art, it has never been used in interpretation of an works of art. Using Iconology in mere interpretation of a historical work paved the way to utilize it in art. In fact, the objective of this feasibility Study is the possibility of using the method of Iconology in interpretation of the Visual works. The hypothesis of this research is that whether the method of iconology wants recognition of meaning in front of form. In interpretation of the works (regarding the multiplicity of meanings and relativity of the meaning) is that a practical method or not. According to the hypothesis, iconology is on the basis of the meaning and this meaning in the relative world of art is inaccessible fundamentally multiple, and relative. The method of collecting informations is library method and the method of this researchis analytical-historical. The finding of this research is that understanding the primary and immediate meaning in abstract nonrepresentational art is not feasible, because Iconology seems a deficient method for interpretation of works of art according to its bases that is a method attends to Content versus of Form. There is no Image in many of works of art and those contain some line and color spots that shape nothing. In many works of art, the visual elements have no symbolic modes because they are nonrepresentational and there is no icon or symbol in them and iconology emphasizes on symbolic values. Then about the nonrepresentational works of art, iconology is ceased in the first step. In abstract works which carry image is not possible to get access to a unified meaning through the form and the recognized identity does not reconcile with essence and nature of the work because one of the structures of the art is multiplicity of meanings in a single form. According to attitudes to relative ideas in science, philosophy and art across the modern world, it seems no way to finding the meaning of works of art. In many of artworks the meaning that the artist wants to say, is not the meaning that the viewer recognizes and there are many differences between the intention of artist and perception of viewer. Many of works of art no represent any thing of the nature, then the viewers cannot recognize any thing in the work of art that exists in the nature environs them. Consequently, it should be said that iconology is applicable on the representational works of art works that taking their identity from the texts, oral culture, and generally from the nature, not for the art which has a relative identity.

Research about Persian painting (generally, all objects of Art), has its own difficulties. One of these difficulties, of course, is that, how was its creation. The creation of any object of art, is a twisted problem, deals with several factors, some apparent some stealth, but never a fixed number of them existed that could act like variables. In this paper, we tried, with help of some obvious considerations, to find some of these factors. The seven factors that we consider as seven principal points of act are content patterns (stereotypes/ icons), formal patterns (formal traditions/styles), patron, social- economical- political- religious conditions, primary context, artist (whether single artist or a group of them) and audience. All of these elements have not an equal place in comparison with the others. Audience is the most important one, because it has a twosome projection, in one hand, it have an influence on formation of painting (the painting is for audience whether it is a single king or a wide range of scholars or a wider one of usual people), in the other hand, it is the audience that uses (=read, look and so on) the painting and as a user, he is the true interpreter of that. The elements of formation of paintings are not the variables that can posit in any situation they are just factors that have causal and random roles. So is their scale of influence in each painting that cannot be determined. We have tried to introduce and explain all seven elements with the case study by a painting from baysunghuri Shah name: ” lament of faramarz on coffins of his father, rustam, and his uncle, zavare.” This painting has not any special formal or conceptual elements that merits over the other painting, and just this make it a potential one R for neutral study. Of course without any special mode, this painting has some important aspect in case of storytelling. First, the story is a secondary one and has no importance in Shah name. Second, the baysunghuri Shahname is an important one and has been produced for special purpose, that is, maybe, the ambition of baysunghur for reign. In any case, this painting has some important implications that is more than telling a story. The death of rustam as a most important hero in Shah name, have not been painted, just his coffin and this is the act of de familiarization of this painting. For interpreting this factorial element, one must look for an element that conjoins form and content. In this case, the linker is Arabic phrases, who by verbal means, try to transfer the contents that mean for artist. In this case, the content is fatalism. In other word, every text has two conceptual modes. On is denotation and the other is connotation. By denotation, we mean what the object of art shows directly and by connotation, what the object shows covertly and, of course, the connotation mode can be artificial or otherwise natural. The end of paper will deal with the meaning of the painting.

Due to avoiding utilization of human figures and abstaining from idolatry, decorations have specific geometry in Islamic art and architecture. One of the striking characteristics of the knots (girih) that has caused to dynamicity throughout its thousand-year history is its regeneration and diversification of the diverse geometric properties. Girih tiling decoration is part of geometric arts in the traditional buildings of the historic town of Masouleh dates back to eight hundred years. Traditional and local architects of this historical town have adopted special and intellectual plans for creating visual attractions in expression and creation of girih tiling in the walls of the monuments. One of these valuable solutions is diverse geometric decorations patterns. Since the main facades of the houses in this town are directly located in the sunrise direction and it is accepted landscape for the citizens of this historical town, so the artists have shown their art and style in this part of the monument and built beautiful and harmonic diverse wooden windows and variety of these patterns are seen in all five neighborhoods in this town. Girih tiling consists of straight and broken lines on a regular basis that could be reasonably expanded in the surface. In the present study, it has been tried to classify the decorations in girih tiling in the neighborhood of Masouleh and also investigate girih tiling including scrolls and edges, and also the role of decoration in this element. The methodology of the research is based on field study and direct observation of the monuments and decorations and taking image and converting into Auto CAD files with dimensional analysis. Also, for description of girih tiling, descriptive and library studies have been conducted. Questions that the research seeks to answer in this paper are: Can it 8 D be offered a defined pattern for opening girih tilingby analyzing of the decorations in neighborhood of Khanehbar in Masouleh? And also is the largest usage of the patterns seen in scrolls (middle or central plan)? Does scroll use most patterns in its margins? The girih tiling patterns of “gavarehbari” with “boteh jegeh” designs (paisley), eight squares ornamental layout, rectangular, “hasht-chahr longeh tokhmedar”, and gavarehbari with the scales patterns are more common patterns. Fourteen patterns were seen in studying the girih tiling patterns employed in the combined windows that “alat jafari chokhati” and then rectangular tiling and seven and eight sides tiling patterns were common. The patterns used in the friezes are mostly eight squares layouts. The most common patterns in the margins are four- side tiling in all parts. Diverse patterns of girih tiling, besides with diverse combinations resulted from placing together and offering shapes in the friezes and marginal patterns have offered rich visual ornamentation in the historical city of Masouleh. Such studies aid reproduction of these patterns in the contemporary fine arts while preservation and documentation of the fine and visual patterns in the Iranian girih tiling.

Isfahan Takht-e Foulad cemetery is one of the oldest ancient places in Iran. What makes this place special is not only because of the literati who rest in peace, but also because of the decoration and variety of the gravestones which itself is considered a valuable artistic treasure, and a narrator of the history and historical identity of people of that time. One of the most important and beautiful motifs is animal motif, which is proximity with plants and human motifs recreated the different symbolic meaning. Oneof these motifs is the animal motif of “lion” and “fish”. These two are indicate, alone or alongside other motifs, such as plant, human, object, etc. that carved on gravestones are not only for decorative aspect, but also for their particular role and position among human beliefs. Through this ancient cemetery, the lion motif can be found in different forms of scoop, pit and sculpture; which for a long time have been occupied a particular position among human beliefs. In art and cultures of many nations “lion” is the symbol of courage, power, bravery, fire, sunlight, victory, airy living, kingdom and dominion, wisdom, pride, care, and protection. “Fish” motif is another motif which can be found plentiful among the artworks before and after Islam eras. This motif has been the image inside the pit as individual and collective in gravestones. Besides the extraordinary beauty of the shapes, they include lots of direct and symbolic concepts that have caused, in various eras, artists, whether in Iran or in other cultures to draw and create these motifs once again by adding meanings and concepts. Over time, the usage of these motifs which have had religious and symbolic aspects has reduced and their symbolic meaning has been forgotten. Today it is needed to pay more attention and do more deep study on semantic dimension of artworks than before because of weathering erosion and negligence of authorities. Survey and investigation on symbolic and archetype meanings of these motifs need to be interpreted, paraphrased and referred to in several sources. The researchers have collected 600 samples of gravestones, and then have selected 150 of them for this study. The collecting method was based on historical study and combined method of descriptive, analytical and research methods that were used in literature study. In this review, the motif features have been analyzed from the perspective of semiotic, the upcoming result of which may help to decode part ofthis historical collection. In decorative identification trend of this collection the species motifs have been classified according to shape of plant, human, animal and objects. In addition, the different shapes of lines in each motif have been analyzed by the researchers. Base on the findings, the existing gravestones motifs not only were used for decorative purposes, but also referred to specific concepts, and in some samples they’ve got profound and mystical implications which arose from a human belief. These implications can be useful documents for finding the religious, cultural and social characteristics of that particular period of time.

One of the important elements of Islamic architecture is mirror and mirror work. The art of mirror work is a Persian traditional art which is usually used in the interior decoration of historical buildings, particular religious buildings. Mirror work is considered as a kind of mural painting, but it is different from other types of mural paintings all around the world regarding its conceptual, thematic and structural features. In fact, mirror work consists of a special kind of visual language which is based on the interaction of pieces of broken mirror with geometric patterns. These elements consist of small geometrical forms, regular triangles and natural simplified forms. Geometrical methodology which is used for adjusting the structural elements has a history in Persian art. Therefore, the mirror work artist does this work with preciseness and clarity. In this context, Geometry, can be defined as a collection of simplified triangles, squares and circles which show their most abstract characteristics. The construction of geometrical shapes starts by dividing the circle in to equal parts. The rhythmic basis of this network can be equilateral, square, pentagon and the multiple of these shapes will be hexagonal, two combined triangle or octagon. The construction of the geometrical designs and girih tiles is accompanied with mystical debates. Actually the artist makes uses of each situation to emphasize on the divinity of her work by combining the broken pieces of mirror with geometrical designs. The mirror work artist makes uses of a coherent aesthetics system which is based on geometrical designs. The mirror work artist does not attempt to represent the landscape but actually he/she is trying to illustrate the natural essence of the entities. Thus, time and place is not specified in his or her works. Such a qualified work is constructed by the application of irregular colors and lines and also by the use of geometrical methodologies that are used in construction as well as rules for the construction of circular and spiral compositions. The use of this methodology for presenting the space has resulted in a novel methodology; the visual designs of which can be seen in photo collages of David Hackney This study attempts to find an answer to the following question: Is there a similarity between the aesthetics designs of Persian mirror work and photo collages of David Hackney? Therefore, this study aims to study the common characteristics of specified samples by making use of descriptive and analytical methodology as well as field and library data collection methodology. The results of the study showed that: 1- the Persian mirror work has discovered an organization what is exactly, computed of the ordered and visual scales from space relations. Then exhibits it with dialectical path by the mirror pieces.2- the applied visual signs in the Persian mirror work and photo collages by David Hackney are used similarly.3-the visual signs like: form analysis, visual synchrony, and motion dynamism, have manifested in the art of Persian mirror work before to be appearance in the modern painting aesthetic system.