Kimiya-ye-Honar
Year:2020 | Volume:9 | Issue:36|Papers Count:6

The aesthetics of “ everyday experience” is made by a paradigm that defines the duality of the Elite art/low-class art by focusing on the art of the majority/minority, based on the desire of the urban middle class, It has been put as the art of the people in opposition to the art of avant-garde. The study is based on reflections on possibility of finding the main origin between the art of the masses and avant-garde art on the one hand, and the separation of people’ s art from popular art on the other. The reflective aspects of the present study are as follows: How is mass art separated from the popular art, what is the relationship between Mass art and avant-garde art, what is the role of the artist in reproducing the similarity of mass art as popular art. Therefore, reflection on the subjects of recognizing the qualitative difference between popular art and mass art, defining the internal interconnection of avant-garde art and mass art, and examining the role of the artist as the cause to appear of a goods or creator of art, are considered. The method of this research is critical and descriptive-analytical. Data collection is based on library sources and written documents along with studying the opinions of thinkers. The result of this research is the difference between mass art/popular art and the unification of mass art and avant-garde art.

Being fundamentally different and sometimes in the state of confrontation, with traditional and classic aesthetics, 20th century was the realm of new aesthetics in art. Artists, especially the genuine and reflective ones, intentionally and consciously violated the principals of previous periods. An important form of new aesthetics is the “ collage Intertextuality” . The number of prominent artists and the amount of influence this approach of artistic creation has had, led collage to become an important research and aesthetic subject for many scholars. The present paper aims to focus on this specific realm of contemporary aesthetics; i. e. “ collage aesthetics” . Fore so through defining and a typological study of “ collage Intertextuality” , this study answers the question of how each type of mega-collage types (cohesiveness and inconsistency) makes signification.

Liminality is a concept introduced by Victor Turner in the field of anthropology. According to him, myths can be designated as liminal phenomena which are neither here nor there; they are betwixt and between. Bill Viola is a video artist who has represented universal and pivotal dualities in his work, in a symbolic manner. The questions that this study tries to answer are as follows: What is the relationship between archetype and liminality? How can we explain the relationship between Viola’ s works and Islamic mysticism with regard to liminality? In the present research, an attempt has been made to explain the threshold theory and its relation to the archetype, then makes an effort to analyze and comparison Five video arts of Viola considering mythological criticism; with an emphasis on liminality theory. The article is descriptive-analytical and library data collection method has been exerted. The results of the research indicate that Bill Viola, familiar with Islamic and Christian mysticism and influenced by his childhood memories, has created video works that can be considered corresponding to the concept of liminality and archetypes, they lead the audience towards this ceratin apprehension.

It is often thought that appropriation art doesn’ t give rise to its traditional concept and place. Because there are secondary works in the world of visual arts that are taken from the original works. From a legal point of view despite their uniqueness, definite and certain material existence of these works, the situa tion of the author is not very clear. “ How can be explained the authorship relations be tween the artist and his work in a work that a part of it (sometimes the whole work) has appropriated from another artist? ” It is assumed that in all appropriation works the viewer and author are aware about the presence of the first creator in that art work. This study is descriptive-compar ative and interdisciplinary analysis. The research data are taken from the fields of contemporary arts, structuralism, intertex tuality, and intellectual rights, and have been extracted and collected in the form of libraries and documents, and through the tools of taking notes and observing relevant sources and references. In this regard, exceptions of international legal systems and Intellectual property rights in Iran. At the end, some suggestions includ ing preparing an art certificate has made to evaluate these types of works.

One of the most important contemporary theoretical approaches that can be used to analyze works of art is the theories of Jacques Lacan (1901-1980), a French post-structuralist psychoanalyst. By combining psychoanalysis, philosophy, linguistics, and anthropology, he analyzes the world of the human subject’ s mind in a series of intertwined and extensive cultural and social relationships. This article aims to take a look at the painting-from-phtographs of the Gerhard Richter Foundation as a unique collection of contemporary artists from a psychoanalytic point of view; And to ask the question, what is the relationship between truth and appearance in Richter’ s painting and Lacanian psychoanalysis? Also, how Lacan’ s psychoanalytic concepts are found to be helpful in the critique of Richter’ s painting? The method used is descriptive-analytical and based on data and information using library and Internet resources, based on the observation of Richter artifacts and their analysis with Lacan’ s psychoanalytic approach. This article shows that Lacanian concepts can be generalized to Richter’ s paintings. There is no definitive truth and reality is perceived through the eyes and the organized system according to past experiences, the lack and desire of the subject. All of our reference points, everything we talk about and whatever we do through them, are all not absolute truth but stereotypes.

A In this article the role of geometry and its interaction with imagination in creating the unique architectural will be explained. From long time ago philosophers and prominents have referred to important role that imagination and geometry have in the creation of universe. All over the universe, the emergence of geometry at beginning of creation is undeniable. Geometry with its manifestation at physical and abstract realm, in order to make meanings inclu sive; had helped both in matter promotion and its order and also in descent of mean ing by presence of imagination (using the features of formulating at tangible and sensible world). Therefore, in this article, the authors intend to analyze the interac tion between geometry and imagination in the creation of the unique architectural. The present article has a qualitative ap proach and its main procedure is based on the “ interpretive” paradigm. Also results of research indicates that geometry and existence of creative architect (in the state of best human) with implementing imagi nation in creating the unique architectural have most important role which geometry in its half abstract realm along architect imagination tend to formulating of phan tom from absent world and he with ap preciation to geometric and mathematics science, construct and combination tech niques in progression of matter promotion and meaning degradation move to create the unique architectural.