Kimiya-ye-Honar
Year:2017 | Volume:6 | Issue:22|Papers Count:6

In Kant’ viewpoint, beauty is neither objective nor does it rely on concepts, but it is the subject that establishes the judgment of aesthetic in object of art. Kant believes that the feeling of pleasure in judgment of taste arises from reflective judgment of the subject of judgment. He argues that art is distinguished form nature, science and craft, and divides it into mechanical art, pleasant art and beautiful art. Pleasant art is a kind of art whose purpose is just pleasure, while the criteria of judgment in beautiful art is reflective judgment. The work of beautiful art is the product of author’s genius through form. From the perspective of ideas Kant divides fine arts into three kinds: art of speech, visual art (Including plastic art and painting) and art of the beautiful play of sensations. According to his description of certain use of the object as a condition that limits the aesthetical ideas, it seems that handicrafts are sub- architecture, and should be regarded as plastic art. But given the wide range of handicraft products, from mass production to unique objects with aesthetical features, and from useful to the decorative, they cannot all be equally judged as craft. This research seeks to analyze aesthetically the range of crafts based on the concepts explained in “Critique of Judgment”. This this way it distinguishes the field of art and non-art in the productions of handicraft and introduces areas of pleasant art and fine art in objects of handicraft.

Henri Maldiney has applied two meanings to aesthetics. One is related to sensation, another is belong to theory of art and artistic aesthetic. In both definitions there is a common point, rhythm. Rhythm goes beyond the limits of its definition in music and painting. Also, it resolves the objective and subjective limitation in aesthetics. Rhythm is a kind of ontological term which bring together heterogenous parts. In this paper I elucidate the formation of rhythm and show the relationship between these two meanings of asthetics.The important concepts in Maldiney’s aesthetics include rhythm, space-time which is implicated in rhythm, existential crisis, chaos, genesis of rhythmic dimension and last but not least the motif. Two meanings of aesthetics are related together in the point of formation of aesthetics or rhythmic dimension in artistic work. Rhythm on the one hand is modulation of being/artist in different situations or possibilities of existence and on the other hand, is an operation which bring together the different Givens and parts in the surface of artistic works. Rhythm is grounded on aesthetic dimension. According to this, it’s possible to read Maldiney’s aesthetics post. kantian one.

Deconstruction and Surrealism, despite their different origins, are in accord on their criticism of deterministic approaches; both of them stand against reducing the infinite domain of meanings and interpretations to the determined and contrastive field of “binary oppositions”. Deconstruction challenges the structural contrastivism through its approach towards text and lingual structures, as surrealism does the same by altering the perceptive experiences and elevating the perceived reality. Given the aforementioned similarity in approach, the current research aims to use the reader-response theory to study the approaches of surrealistic art in 20th century (two-dimensional image) from the deconstructive viewpoint. The deconstructive analysis in this research is based on the reversed and disrupted relationship between oppositional components, and the “undecidability” of their final status. The research concludes that by disrupting the conventional relationship among contrastive concepts, wavering the certainties, and questioning the accepted convictions, surrealist images not only deconstruct the used visual system (abstract art and figurative art), but also “embody” (visualize) the deconstructive approach towards our conventional notions about reality.

In this article, the question is about in what forms an Iranian character encounter - Consciously or unconsciously- with “self” and “other”, in the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam”? The “self” and “other” are metaphors which refer to the most important subject of modern Iranian literature. This relation involves a relationship. The relationship which creates a space so that social and communicative forms could appear and be reproduced as social characters as well as their different kinds of encounters – “self” and the “other”. Here, the focus is on concepts such as language and outfit as well as the metaphorical and semiotic system of “self” and “other”. This system will be examined within the interaction of characters and constitute the above discourse. Here by discourse, I mean a certain attitude and point of view in any historical period by which the Iranian “self” tends to experience something and it is the “other’s” experience constituted in the play. In this article, I attempt to show how the characters in the play as a kind of subjectivity and “self”, stand against subjectivity of “other”.

The reinstatement of iconography and iconology in the West has become important. In this article, we tried to find the reasons for choosing the topic of Laily and Majnoon in Ghiaseddin fabrics. For this purpose, using the iconographic and iconological theory, the inner meaning of this story is examined in the literature and culture dominant at the time of the emergence of the effect. This review is evaluated based. Three steps: description, analysis and interpretation. In the history of textile in Iran, especially during the Safavid period. The use of miniature textiles has been used extensive. In this research, a narrative of the literary story of the Nezamy, that was considered by Ghiaseddin, was used. He has chosen this narrative and woven it.

Traditional mosques in Islamic architecture are designed in a way that due to their characteristics of fluidity, gradually, get spectator to experience movement from lower levels to higher ones. So that levels of human evolution in Sadra’s wisdom are applicable to stages of motion in architecture. The purpose of this paper is to identify how motion in architectural space has impacts on the completion of its observer. The selected research method is interpretation which explores the relationship between drives of the fluid space with the Substantial Movement of human’s soul in the context of a perceptual experience by space observer. The findings point to the fact that the success of a work of architecture is when space is not neutral and affects its supervisor. When such a space encourages observer to move while gets the eyes, feet and mind of him out of his hand and this is clearly visible in Tabriz Blue Mosque.