Kimiya-ye-Honar
Year:2016 | Volume:5 | Issue:20|Papers Count:8

One of the main questions concerning the status of art in Islam is whether there is a knowledge or thinking in Islam as the origion of the works of art. In other words, is there any artistic vision in Islamic thought? If the answer to this question is negative, what can be said of the masterpieces of art from architecture to calligraphy in the world of Islam? However, if the answer is positive, there are following ambiguities which should be removed.1. True religious knowledge in Islam should be distinguished from the dogmatic Islamic ideology.2. The traditional concept of art in Islam should be discerned and be differentiated from the new concept of art in the realm of aesthetics.

Today, digital technology has affected many aspects of human life and art is one of them. In contemporary art, many artists deal with digital technology as a medium. Augmented Reality, a variation of virtual reality, is the art of super-imposing computer graphics over a direct or indirect view of the real world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium.The goal of this paper is to describe the characteristics and the main aspects of Augmented Reality Art and to analyze the reality that is made by Augmented Reality technology. For this purpose we use Pictorial Image Consciousness theory which is proposed by Edmund Husserl. By use of contemporary interpretive and qualitative approaches to video analysis, we will analyze such natural data as pictures and videos downloaded from internet. These videos show Augmented Reality artworks that were presented in an exhibition by new media artist Josue Abraham in Merida, Mexico on April, 2014.The subject percepts the augmented objects as natural objects because AR technology presents them to us as existing in the real world and as common perceptual objects. In addition, action of subject is not different from the ordinary one.

Using a phenomenological approach for analyzing Shabihkhani and elucidating the fundamental conditions for its realization, this paper would try to answer the following question: how performer’s verbal and performative elements constitute Shabihkhani? This analysis differs from other approaches in that it does not solely rely on textual and literal structure of Shabihkhani. The paper would draw on Bert States’s theory on performer’s presence in theatre, known as phenomenological modes, to further provide a critical evaluation and analysis of performer’s presence in Shabihkhani. States has demonstrated the use of phenomenology in understanding the formal structure of a performance through considering actor’s presence on stage as a main theatrical event in general and verbal communication during performance in particular. He also recognizes three modes of confrontation with audience, namely self-expressive mode, collaborative mode, and representative mode. These modes may serve as a basis for providing an analysis of a particular theatrical event in particular era or period of history. Using his theoretical framework, it is claimed here that Shabihkhani provides a cloudlike atmosphere among the three modes in the course of which audience and performer experience a shared experience of the world through a dynamic rapport to each other.

The depiction and presentation of abnormal figures and wounded, mutilated and sickly bodies is a trend in contemporary figurative art. This trend is known as “abject art”. In the world of art, this title was first used in an exhibition of figurative works by contemporary artists in New York’s Whitney Museum. Of course, the depiction of the abject and abjection is not exclusive to contemporary art and can also be seen in the paintings left for us from the sixteenth century. But the first use of these words in philosophical discourse belongs to the year 1982, i.e. when Julia Kristeva, a contemporary philosopher, psychoanalyst and linguist used it in her article “Powers of Horror, an Essay on Abjection”. Abject art is born of the crisis of modern art; it is born of the wars, destruction, diseases and powers that target humanity and its’ fate. Studying the idea of abjection in the discourse of Julia Kristeva and its reflection in contemporary life and art is the main goal of this endeavor. To reach this goal, information has been collected from documents and is presented in a descriptive-analytical manner. Kristeva searches for the roots of abjection in childhood: the time when the seed of all that is identified as identity in humans, germinates in the shadow of the desire to be different. The desire to differ oneself from that which is simultaneously both in contrast to and part of his being, a desire that never leads to a complete separation. Abjection accompanies hate and violence and not only makes identity, but also endangers it.

It might sound difficult to reach a consensus on definition of “Kitsch” due to temporal restrictions of found in this phenomenon, its extension to related fields, researcher’s various ideas about it and also various implications expected from this phenomenon (this phenomenon is sometimes related to bad taste and public culture, however, it can be thought of as the cudeavor of public culture to achieve its identity in contemporary world). Nevertheless, negative impacts of this phenomenon can be one of the reasons for current architectural visual chaos. This paper tends not only to investigate this phenomenon from the aesthetic perspective to obtain some necessary  contemporary architecture, but also to introduce one sample (Darius Grand Hotel in Kish) through conducting a study on library sources and documents, and interpreting some field studies through a descriptive-analytical method. As a result, and in accordance with what some phenomenology scholars have said, it is concluded that: loosing sense of place attachment is one of the Kitsch architecture’s side effects.

In the beginning of logic’s entrance to the zone of Islamic thought, philosopher's problem was to answer what the poetry was; because they thought poetry was a part of logic. They tried to explain it and find out what the meaning of a poem was. Farabi is one of these philosophers. He explained poetry and determined its position. Farabi’s point of view encompasses the elements of poetry. Little attention has been made to this viewpoint of Farabi by scholars. This paper aims to know how Farabi defines poetry and what types of poetry are there and what the meaning of mimesis is in Farabi's point of view.

We see the universe and the objects beautiful; but some questions immediately involve our mind: “why the universe is beautiful?” and “why the human beings believe in existence of the beauty?” In this article we want to answer such questions by the descriptive - analytical method and with the emphasis on Sadraian ontology. As a result, the beauty is equivalent to existence and they are the same. Therefore, beauty as the existence is a gradation of Reality, and has various manifestations. The upmost degree of it, that is Absolute Beauty, for his perfection is essentially beautiful. Thus, universe as his effect or manifestation is beautiful too. By awareness of Absolute Beauty as the cause or the Lightening and by seeing ourselves and other beautiful things as its effect or manifestation, we believe in existence of beauty.

If we consider Traditionalism in professor Nasr’s interpretation of it, is necessary to distinguish between three kinds of art: A) Sacred art which originates from Divine sphere by mediation of angels, saints or religious leaders. This kind of art is a sign of “Sacred” sphere, that is exactly Divine Kingdom. B) Traditional art has some sign of Sacredness (in themes, teachings and characters). But in this kind, human creativity intervenes fully, and it is not correct to say that this kind origins from Divine sphere by holly persons.C) Religious art simply reflects a religious topic, without any necessary connection with true religious theme and Traditionalism’s principal thoughts. So it is possible for what is being called Religious art in contemporary culture to be employed and to function as anti-Sacred, anti-Traditional and untrue Religious art, and to remove the memory and legacy of Sacredness.Now, the question is “which one of these arts corresponds to the art mentioned in Fotowatnamehs, text?” It seems that Fotowatnamehs have not mentioned Sacred art and as it will be argued here, these texts walk between traditional and religious art.