Motaleate-e Tatbiqi-e Honar
Year:2019 | Volume:8 | Issue:16 |Papers Count:11

One of the most essential characteristics of postmodern philosophy involves the abundance of opinions and concepts and the multi meaning and values of definitions that expressively lead to the presentation of relative and uncertain solutions. Uncertainty, as one of the main characteristics of postmodernism, is related to other subsectors of postmodern philosophy such as lack of objectivity, multi reasoning, multi meaning, pluralism and skepticism. Many contemporary artists in conceptualizing uncertainty consider subjects of binary oppositions such as presence and absence, existence and nothingness, stability and instability, etc. as the pivot of their ideas and this approach gradually has changed into a distinctive element in their works. Damien Hirst and Michael Borremans are among such artists. These two artists each have differently expressed the issue of uncertainty. The fundamental question in the current research involves the manner by which the concept of uncertainty is represented in the contemporary artworks through different media, style and artistic approaches. According to the research findings, specifically in the works of the two artists under study, the noted concept has surfaced through different techniques, tools, and media. While Borremans has employed traditional painting media(of course eclectically with history of art, photography and theatre) to express the mentioned idea and Hirst has enjoyed mysterious installations and executions to convey the concept, but conceptual similarities in the works of these two artists such as life and death, possibility and impossibility, realism and fantasy, etc. have been blended and expressed with a certain bitter sarcasm. This research has been conducted as a descriptive-comparative study and the results reveal that creating challenge in the mind of the audience through opposing concepts has led to the expression of the common idea of uncertainty in the works of these two artists.

Recently the role of music in international policy has been increased. In this article the role of norms and ideas is indispensable, Hence we have employed Constructivism as the conceptual framework, thereafter we would be investigating on Music Diplomacy of the US and China comparatively pursuant to Silk Road Strategies after 9/11. The main question of this Article is how the USA and China have been using music diplomacy to reach their purposes on international and regional stage, to prevail over each other? After 1949 revolution, we envisaged new Chinese identity. During the Cultural Revolution in China many persons got killed and many ancient heritages got destroyed, but China turned its way to commence a new cultural diplomacy, one of these fields was music. It was a new approach based on a drama group from province of Gansu and the ancient tale was named “ Rain of Flowers along the Silk Road” . It seems that China intends to promote regional convergence and spread out message of peace and coexistence throughout the world. American music diplomacy is based on various instruments and ideas, including YoYoMa program, Silk Road festivals, and promoting American music styles like Rap and Jazz (especially famous performers and singers). According to our findings the US policy makers have placed burden of the American Music Diplomacy on the non-state actors. It means that the circumstances have led the US to get over the lack of credit by using independent actors like universities, academies, NGOs, music bands and famous musicians and individuals and refuses to meddle in music diplomacy directly.

Up to now, about the first art history as we know today, i. e “ Golestā n-e Honar” by Qā dī Mir Ahmad Qomi and “ Lives of the Artists” by Giorgio Vasari, different researches and studies from different aspects of bibliographical, historical and literary has been done. But what has been neglected is a broader and deeper view into the epistemic foundation and theoretical frame of historiography and view of the historians toward the concept of the history, art history and its direction. The main question of this research is asking of existence and quiddity of the components of the philosophy of art history of Qā dī Mir Ahmad Qomi and Giorgio Vasari based on their works “ Golestā n-e Honar” and “ Lives of the Artists. ” In order to answer, Comparative-Descriptive method has been used. In this regard, Interpretive and comparative Methods have been utilized. Interpretive method is a way that somehow emotionaly and inwardly, try to explore the view of author or historical agent toward the subjects. At the end, the components compares and different aspects of similarity and differences are scrutinized. The main goal of this research is reaching to the foundations and main lines of philosophy of history of those art historians named above and generalizing the results. The results show that in two worlds of Iran and Europe, at least before the modern era, there were two different attitudes toward art history: the philosophy of art history in Iran emanates from theological thought which has linear, invariant, source-oriented, retrospective nature, but in Europe based on Humanism thought and from the ancient time, the philosophy of art history has cyclical, evolutional, end-oriented and future-oriented characteristics that the individuality of creative and nature imitator artist has been emphasized.

This article is an analytic and comparative study into abstract patterns of geometric designs, as one of the most significant spaces in the Islamic architecture, and the principle of perceptual creation. It has a comparative approach to investigate equivalence, effigy, and analogies between the micro and macro systems (in the hierarchical system of the universe). In the mystical cosmology of Ibn Arabi, this is based on the unity of existence in the form of self-disclosures and reflections of God to be eternal and endless. Therefore, in this view, beings are always undergoing changes and transformations and the justice is revealed at any given instant in unlimited forms. Accordingly, abstract forms of Gere geometric patterns in the Islamic architecture and art and the unlimitedly expandable patterns are the result of the rules that are the symbol of the internal aspect of Islam and the mystic concepts of “ unity in diversity” and “ diversity in unity». It is a descriptive, analytic, and comparative study and used both qualitative and quantitative methodologies. The results indicate that the features used in the Gere geometric designs include “ possibility of repetition in case of perfection” , “ possibility of variety and transformation via secondary shapes” and “ possibility of maintaining unity and matter while having a variety of shapes” . This is the effigy of the principle of perceptual creation in the viewpoint of Ibn Arabi and his followers. The goal of the mystic artist in creating unlimited designs that include a variety of different Gere geometric shapes is to show the constant creation of all beings while aiming for perfection in all divine self-disclosures and this is recreated and achieved through repeatable and various patterns of geometric shapes in the Islamic architecture.

Today designing is one of the most important reasons for success and differentiation of a gold and jewelry brand. With due regard to the significance of designing, and also utilizing the experiences of better brands in this specified zone, the designing created in 2017 by Tiffany & Co and Cartier and certain with their eye-catching characteristics, and at the same time different from one another, were chosen to be studied. This research aims at comparative examining of emotional influences of the designing of these two brands on Iranian female students, in such a way that in addition to studying the visual characteristics, the qualitative concepts of designs and the personality of designing the above brands, and the impression of these two collections on the feeling the addressee have been analyzed. The present research is seeking to answer the questions that the designing, of Tiffany & Co and Cartier in 2017 in which aspects have had significant differences and what concepts and sensation, have they provoked in Iranian female students and how have they transferred such sensational impressions via designing? In this regard, by utilizing Kansei engineering method and electing 24 measurement spouses who express different feelings and characteristics in connection with the designing of gold and jewelry, the structure and contents of the question are performed after the differentiation semantic, and was distributed among 100 female art students with an age average of 18 to 30. The findings showed that the personality of the designing of Tiffany & Co brand in 2017 has been popular to the youth, up to date, progressive, and at the same time, unreliable, in contrast; the designing of Cartier have a classic, past-oriented and somehow traditional but at the same time genteel and reliable.

Looking at the common customs in Iran, it can be understood that mourning ceremonies have been among important rituals for the Iranians. Such rituals that are rooted in Iranian traditions have been certain topics for various texts and anecdotes. Shahnameh of Ferdowsi is one of these works that has narrated these rituals and in some of the illustrated copies of this, there are illustrations with the same theme. The present study, therefore, aims to investigate and compare the way the mourning rituals are illustrated in selected illustrations in Baysonghori Shahnameh and Demot Shahnameh in Ilkhani and Timurid eras. And according to the question, what is the difference between the ritual of mourning during the Ilkhanid and Timurid periods based on the illustration of the images associated with the mourning ritual? Selected illustrations in Baysonghori Shahnameh and Demot Shahnameh are analyzed in terms of their composition, characterization and color tones. This research has been conducted by utilizing descriptive-analytical method based on data comparison. The results of this study indicate that during the Ilkhanid and Timurid eras, different themes have been used to express the subject of mourning and elegy that are rooted in the culture and beliefs of each Period. The mourning rituals in the selected illustrations are depicted in a totally different manner in Demot Shahnameh and Baysonghori Shahnameh, and they have similarities only in the subject of grief. In other areas, such as the composition, coloring and faces and the movements of the mourners, no similarities can be seen in them.

Among movies that considered «dream», “ Inception” got a notable fortune. The film, written and directed by Christopher Nolan, has been the source of many academic discussions around the world as well as having won many credible film awards. On the other side, Ibn Arabi, who has referred to him as the designer and theorist of theoretical mysticism, systematically has explained this subject based on challenging ideas. Is there any significant link between the film and the Ibn Arabi’ s thought? This study tries to identify the mutual points in the movie and Ibn Arabi’ s ideas. Superficial similarities have been less considered in this paper and we try to focus only on deeper correspondences. Accordingly, based on descriptive-comparative method, three main axes have been considered, and the film has been interpreted based on them. Ibn Arabi and Nolan, ignore the conventional difference between dream and reality in their works, and present a new definition for these two concepts. In their view, merely knowing the science of interpretation is not enough to properly understand a dream, but recognizing the real state of dream and reality is determiner. They also show that the dream has a degree of creativity that can lead to creation in the world. What is ultimately found in this article is the triple relationship that leads us to the result that Ibn Arabi’ s thoughts and «Inception» have serious points of correspondence on the subject of dream. And this is more considerable due to the time and cultural difference between Ibn Arabi and the film’ s author.

This research compares the common illustrated themes in manuscripts from Ilkhanid and Timurid periods. In general, the themes in Iranian painting are divided into seven categories of history, religion, animals, epic, lyrical love, realism, decoration, in which the themes of history, religion, animals and epic have more commons in both periods. In this research, only these four themes and the reasons to consider them will be surveyed. The purpose of this research is to study the goals of illustrating the same themes in the manuscripts of the mentioned dynasties. The question of this research is: What are the differences and similarities between the images in the illustrated manuscripts of the Ilkhani and Timurid eras? This research is conducted by using descriptive-analytic method. The results of this research indicate that portraiture of historical manuscripts of Ilkhanid era is wider than in Timurid Dynasty due to the declaration of the Mughal commitment to the Iranian heritage. In terms of religious theme in the Ilkhanid period, non-Islamic themes, such as Christian, Buddhist, and Jewish issues, have been used along the Islamic issues, for example, regarding Christian matters, the reason is the presence of Christians in the top government of Ilkhanid. In Timurid era, the presence of non-Islamic issues was paled but Islamic issues, especially the Shi’ I, was highlighted. The third common theme is animals, which seems to be more visible in Timurid era. The reason of this claim is the similar manuscripts of Kalilah wa-Dimna, Ajaib al-Makhlughat by Qazwini and manuscripts with hunting scenes in two periods, and also some unifoliate pictures and Mantiq al-tayr manuscripts in Timurid era. The difference between the mentioned periods regarding using epic theme in illustrated manuscripts almost refers to details. In addition, the boom of this theme is more in Timurid period concerning the more number of illustrated shahnamas. Finally, it can be concluded that similarities between common themes in these eras are more than their differences.