نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 19 (بهار و تابستان 1396)

Immanuel Kant, the 18th-century philosopher whose works was initiated major changes in the field of epistemology, as many Enlightenment thinkers hold our mental faculty of reason in high esteem. In his works on aesthetics, he argued that our faculty of judgment enables us to have experience of beauty as part of an ordered world with purpose.
His main ideas partly based on Baumgarten, who invented the modern use of the term aesthetics in the middle of 18th century. However, unlike Baumgarten beauty had more to do with rational ideas such as order and harmony for him. He holds aesthetic experience in relation to determinate judgments. He discusses particular unique features of aesthetic judgments (four moments) according to his main divisions of the categories. In the fourth moment, Kant was attempting to show that aesthetic judgments must be according to the principle. Everyone must assent to his judgment because it follows from this principle. This point and his emphasis on universality of aesthetic judgement in the second moment had been used by next generation of thinkers as a way of finding the basic principles of understanding beauty through rigid universal principles. Especially the Gestalt theorists, who was discovered the perception principles have been used in many early modern art movements as the universal way of obtaining beauty to any Good eye beholder in any art experience and they believed that it could be used as a secure way of teaching artists.
Therefore, this article, instead of the previous ones that had been focused on Kant's aesthetics in the relationship with his ethical or metaphysical philosophy, was tried to investigate the connection between Kant’s epistemology and the Modern Art theoretical basis. Research tries to indicate the Gestalt psychology as the medium of his epistemology and the Modern Art schools curriculum and the principles of the modern visual Art. His arguments in the Critique of Judgment have been used as a bridge between Art and the Kant’s theory of knowledge concepts like priori principles as the main reason of human's similar perception and the role of imagination in his transcendental synthesis. Then the Gestalt psychology was investigated to reveal its link with Kant’s philosophy and the educational system of Modern Art schools like Bauhaus and analytical theories of Rudolf Arnheim and György Kepes.
Results show that the modern aesthetics based on the priori principles in Kant’s epistemology as the standpoint of human communication and the creator of mind steady principles of visual understanding are similar with the central concept of Kant's judgment of beauty. In what he called the free play between the cognitive powers of imagination and understanding. Whereas judgments of free beauty are made without having one determinate concept for the object being judged but a judgment of beauty is adherent if we do have such a determined concept in mind. These determined concepts must be based on the universal principles everyone can be understood, as some modern artists believe in it.

In folk beliefs and literature of Iranian people, name and emblem of lion is more or less connected with Qalandar Dervishes and Futuwwa cult. The lion tattooed on the skin has been favorite for members of traditional gymnasiums (Zurkhaneh) that in fact, were military branch members of Futuwwa cult (named ‘Seyfi’; attributed to sword). Emblem of lion has been associated with the name of Imam Ali (peace upon him), the first Shiit Imam, and the legendary inventor of the most dynasties of Futuwwa in Islamic middle ages. Futuwwa was a kind of sufi chivalry in Islamic countries, and people linked to the cult were mostly of lower social class. In that era, most of craftsmen and artisans were attached to a guild, and ceremony of arriving to a guild was similar to ceremony of arriving to a Futuwwa circle. In addition, some specific chivalry circles of artisans were existed in different social classes; in royal libraries, in team houses of Qalandars (Khaneghah), or even in Gymnasiums. In post-Mughal Iran and India, some of these groups had a lot of experience on showing and training lion. This study is trying to discover and analyze the historical connection between some groups of lion trainers and some specific Persian miniatures; the miniatures that display subjects like “lion in chain”, “Qalandar and lion” and “lion attack”. These painterly works have been repeatedly reproduced in some limited visual forms, and accepted by the people that were deeply attached to the cult or were owned by that. They reflect the world vision of some groups of Futuwwa and Qalandarieh, and at the same time, support and confirm their world vision. “World vision” as a kind of “group consciousness” is the imaginary idealized world of a group of people that its members are in same economic and social conditions. Hidden world vision in these paintings is the same world vision of some circles of Qalandars and Fettian (plural of Fata; means chivalrous), But process of creating these artistic works is aligned with the process of creating in Futuwwa guilds. Certainly, along with this kind of Structural Sociologic approach to the issue, Idealistic and Mystic approaches could be valid too. A scientific approach must answer the question that how a social form transform to a mystic form. This is the question that is not generally answered in idealistic approaches, but this sociological approach responds to the question. In some coffeehouse paintings, the lion lying down in front of Imam Ali’s feet, is the same favorite lion of Luti showmen and Qalandar lion trainers, and is associated with the “lion of god” or “Shir-e Khoda” Imam Ali. Perhaps by contemplation on these pictures, members of the cults found their ideal imaginary world; the pictures that were a kind of social support for the groups attached to Futuwwa and qalandarieh

Metaphor always has been one of the important issues of rhetoric. New cognitive studies believe that human beings thinks in a metaphorical way and metaphor is not just verbal. Following this theory scholars such as Noel Carroll, John Kennedy and Charles Forceville brought up pictorial metaphor. Mapping the meaning from the target to the source is the common ground of their definition of pictorial metaphor. In the pictorial metaphor there is a derivation from common situation which causes to motivate one or more meanings. Ardashir Mohassess caricatures hold these characteristics; derivation from common reality of human body. The aim of this research is to study the way of reaching to meaning in Ardashir Mohassess unusual figures biased on pictorial metaphor. The concept of leaving human essence from human perfection as target, is portrayed as losing her/his usual appearance, in the caricatures, as source. The main content of his caricatures is to keep active the mind of audience. In the artworks of Ardashir Mohassess the meaning and interpretation cannot be achieved easily, and there is an accumulation of concept; so a constant cycle and a return to the artwork happens. The methodology is descriptive- analytical and in the data collection library-based studies and observation of artworks are used.

Wood is one of the raw materials used in the monument of Beit-o-Lahm church in Isfahan. The wooden door is in the altar of the church and the door opens to the cellar. The wooden door is made of plane and soft decay by fungi has decreased its strength. The purpose of the research is to examine the destructive effects of soft decay for reducing the strength of the historical wooden door made of plane in the cellar of the altar of Beit-o-Lahm church in Isfahan. In addition, physical, chemical, and mechanical strengths and structural changes of the wooden door are evaluated. For this purpose, documentation, statistical software, experimental studies, microscopic observations and FTIR and SEM are used to examine the chemical changes of the wood structure and morphological observations of the wood surface under the soft decay by fungi. The results of the tests show that fungi in the structure of the plane wood have destroyed the cell walls, increased the moisture, decreased density, cellulose and lignin and finally, they have declined the bending strength, compressive strength and impact strength and have reduced the resistance of the wood. The lack of the strengths has destroyed the historical wooden door

Archaeologists know the artifacts the result of indigenous art formed a long process and by combining local experience with the art of neighboring cultures (Elamite, Assyrian, Babylonian, Hittite, Urartu) and migrant peoples art like, Kasyan, Guti, Lulubyan, Murray and Scythians.
What features have been applied the wrenches from applications and inscriptions viewpoints and whether there was a relationship between their usage and patterns. The results show that the investigated wrench bronze are all based on the type of form and function, divided the two categories. In terms of form, both round and square pin disc, and in term of application, they have religious –belief or cosmetic aspect, this article tries to look at the Lorestan ornaments artifacts to investigate the correlation, separation and classify them based on the type of designs used on the pins. The studied historical museum includes the Bronze and Iron Age in Iran (the third millennium to the first millennium BC. The descriptive studies and information contain documentary and field studies of the museum. On the pins are painting, we see that the beauty and diversity. One of the striking pins its diversity, both in terms of design and form as well as the application and may have been used in several cases. Using this method can be the tombs of this era (Bronze Age). Works derived from such works are more motivated Lorestan graves excavated archaeological groups present. One of the funniest, yet most diverse objects made in this area, metal pins. Pins Lorestan bronze objects which are to be found in all of these things at the beginning of the third millennium BC made (tombs) used was made from the category of cosmetics and decorative objects More women in tombs and temples to be seen. The works of the Lorestan graves, including the edifices, have been the motivation for more excavations by archaeological groups so far. One of the most interesting and most diverse objects in the area, is from metal.Violets are objects that are found in all Lorestan bronze sets, these objects were made at the beginning of the third millennium BC, and the Marian (graves) is also made from this category. These ornamental objects are one of the cosmetics, and they are mostly seen in women and temples.One these stories we see a pastime that enjoys beauty and divers.One of the remarkable features of these pins is their variety, both in terms of design and form, and in terms of application , and possibly in many different ways. It seem like they were originally used for hair dressing, but there are other applications that have been used, such as for keeping and fixing the clothes. The use of this method can be obtained from the graves of this era (Bronze Age). Its other applications have been to decorate the walls of temples.The results show that the investigated bronze are all based on the type of form and function.