فصلنامه کیمیای هنر
پیاپی 40 (پاییز 1400)

This research can be considered as one of the studies that seek to explore, in an argumentative way, subtle and solid philosophical concepts in the field of art. The paper provides an analysis of the concept of “extension” in music as one of the most thought-provoking philosophical concepts. The analysis is carried out by interpreting Ibn-Sina’s special conception of musical extension to answer a fundamental question: given that, unlike other arts, music does not use determinate raw materials to create form, and is only related to sounds, and is perceived by hearing, can it be considered as an extended entity? And if so, what components and characteristics does this musical extension depend on? And how can such extension realize itself in music? This study investigates the issue by adopting the method of mental modeling and utilizing qualitative research methods such as structural analysis and structural deconstruction. The study concludes that based on the auditory perception, and despite the lack of a determinable physical form, a range of potential forms of extension can be realized in music. Such realizable extensional forms include a linear-one-dimensional model (horizontal extension of monophonic sounds), a linear-two-dimensional model (horizontal extension of polyphonic sounds), and the spiral-multidimensional model (horizontal and vertical extension of polyphonic sounds).

Stage Historical and literary evidences and texts as well as works of art of the Safavid era point to the abundance of gatherings of festivity and joy in this era. These gatherings have been a part of programs of the Safavid kings and princes on various occasions. The painters of Tabriz II School have made significant efforts to demonstrate the magnificent manifestations of the kings and princes of the court. Moreover, travel logs of this historical period serve as a valid document with regard to the historical and sociological aspects of this period. This study seeks to identify the social conditions of the governing class and the court of Safavid era and analyze its impact on the art of painting based on the theory of reflection. Accordingly, with the purpose of content and sociological analysis of the paintings of royal gatherings of festivity, effort is made to answer this question “To what extent does the paintings of royal gatherings of festivity reflect the social relations of the governing class and the kings? “The target population in this basic research involves two paintings of “Sadeh Festival” and “Feast of Breaking the Fast”. The most outstanding results indicated that the three principles of Safavid Kings, including adherence to Twelvers Shiism, Sufism and culture of ancient Iran are reflected in the paintings clearly not only as ideology but also as the three main elements in the political governance of the Safavid ruling. However, according to this approach, we observe unnatural and unrealistic exaggerations about that era in most of the paintings of royal gatherings of festivity which might be an effort to establish a semantic association between the kings and the myths of Shahnameh and the Sasanian Kings and also validation of their power and magnificence.

The curator, by changes that has seen from its traditional functions towards new models, is now an omnipresent figure in the art world and is closely related to how the arts are showcased. Accordingly, it can have a direct and effective impact on raising awareness about an artistic flow and how it is presented. By this reason, this study explores the relationship between the curator’s activity in an art exhibition and the formation of artistic currents. In order to clarify this subject matter, this article, raises two basic questions: first, what is the role and position of the curator in the generation process of contemporary art movements and second, how can the curator form an art stream by holding an exhibition? Therefore, the purpose of this article is, on one hand, to explain the duties of the curator in an art exhibition, and then, to identify the role and position of the curator in the process of artistic current-making. Thus, this research, with a descriptive-analytical approach and by analyzing two global and influential exhibitional models, by following the curatorial process from idea creation to execution, pinpoints the duties of the curator in the art exhibition and characterizes the role and position of the curator in the formation process of artistic flows. The findings and studies of this paper show that, the curator, with its intermediary persona in the art world and someone who has a direct relationship with how art is presented, can have a direct and effective role in the generation process of art movements by following the proper exhibitional paradigms.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. Human growth is perpetual, and so education should not be limited to a specific period of life, rather it should be a part of the process of life. The class and school years always come to an end eventually, however, the influence of social educational institutions must be continuous. Cultural and artistic measures such as applied theaters are useful educational tools that can have a great effect on the moral growth and social life capabilities of the citizens. Augusto Boal developed the idea of the Theater of the Oppressed (TO) to reach the starting point of change in life. TO provides an opportunity for people in society to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. This study was mainly based on secondary research using existing fundamental works on Dewey’s aesthetics and education philosophy, aiming to provide applied research for empowering Theater of the Oppressed (TO) and presenting solutions to increase its function. After a review of TO, the theater of the Rainbow of Desire was explored in a special section, showing that it is possible to improve the mental health of the spect-actors by creating sympathy among them and encouraging them toward expressive actions.

Physical attributes have always been a qualitative indicator for evaluating an architectural work. These character influenced by function, technology and changing the process of creation and perception of beauty in modern times; and influenced by content, culture, history, meaning and symbolic linguistic structures in the postmodern era. In accordance with the evolution of aesthetic theories since the early twentieth century, several styles in architecture have rapidly replaced each other, in which aesthetic information and semantic information have different proportions. The purpose of this study is to recognize the evolution of aesthetic ideas from the twentieth century and to explore the relationship between these ideas and the architectural style changes of this period. The main question is how the developments of modern and postmodern aesthetic theories have influenced the stylistic developments of this period? So in this qualitative research, modeling in this field has been done through logical reasoning and a comparative study was done. The results show that the main point is the change of formal approach to semantic approach in aesthetics, from modern to postmodern, which is also evident in the architecture of this period. Among this spectrum, three factors of function, technology and culture have played a significant role in changing the aesthetic structures of architectural styles

Alchemy is an ancient science that has been associated with various sciences, religions and mysticism. In Islam, many mystical prayers and practices have originated from the transcendental sciences, and mysticism has had a great impact on the spread of alchemy among Muslims. The nature of alchemy is in harmony with Islamic mysticism; because they branch out from sacred sources. If the spiritual part is eliminated, which has always prevailed over the tangible dimensions of alchemy and is the main pillar of alchemy, the status of alchemy will be reduced to a lower position among the various transcendental sciences and it will no longer be alchemy. Considering that Islamic art is formed from the rules of Islamic mysticism, it is possible to find similarities and correspondences between the symbols of alchemy in Islamic art, and therefore it is important to know the symbols of alchemy and how they manifest in Islamic art. What are the characteristics of alchemical symbols and what effect have they had on Islamic art? The question the aim of this research, and of this research is to see how the manifestation of these symbols in Islamic art is is achieved in This research has been done in a descriptive-analytical manner with a traditionalist and holistic approach. In order to reach the answer, the symbols of alchemy have been defined and ranked and compared with the principles of Islamic art and mysticism. Finally, it was concluded that the symbols of alchemy correspond and are in harmony with the mystical concepts that shape the most important features of Islamic art. Principles such as monotheistic attitude, circular and spiral movement of motifs, the importance of perfection as the ultimate goal, the reflection of the greater world in the lesser world are seen as common principles between Islamic art and mysticism and alchemy. This point, considering the older history of alchemy, shows the influence of alchemy on Islamic art.

Pedagogical theater with a continuous process and with an emphasis on the simple learning of various concepts and lessons assists to grow and thus enhance individual and group behavior in society. The process of performing the exercises encourages the talent and creativity of the participants in learning and ensures their active participation. This study aims to establish a link between the ideas of Harry Broudy and the pedagogical methods proposed from his perspective, describing the process of teaching and learning through art. In this study, the connection between the aesthetic aspects from Broudy’s perspective and the related components and the educational process through pedagogical theater is investigated. Broudy proposes three approaches, including performance, artistic perception, and perception in aesthetics, to prove that the perception approach is far more effective in aesthetic education. The results indicate that the teaching and learning process should first be accompanied by strengthening aesthetic education, which is one of the best methods in this field, namely the use of pedagogical theater.  Since it fills the learning path with fascination and excitement, and the process of rehearsal and the impact of this type of theater on the participants are remarkable. At the same time, it can contribute a lot to have the fascination, ease and creativity in learning all kinds of topics.

Alchemymical “Characterization” and “personality” are the cornerstones of drama; many apply in both playwriting and play criticism and analysis. Especially in game genres that deal with deeper concepts of the characters’ personality aspects. Studies of the status of “personality” from both the theatrical and psychological perspectives lead to a better understanding of the executive factors as well as the theoretical domains of dramatic works. By recognizing the mental-physical characteristics of the characters such as interest, hatred, physical and sensory tics, as well as their thoughts and behaviors, brilliant results were obtained that will strengthen the performance and analysis of the games. Schools and styles such as Jerzy Grotowski’s “Silent Theatre”, Meyer Hold’s “Biomechanical Theatre” and Eugene Barba’s practice unleash the abilities of the human body as it tries to make sense of and harness knowledge of anatomy, the respiratory system, and even sports such as yoga. Recognition of human personality is not limited to the use of acting power and includes areas such as playwriting and play analysis. This research tries to use the knowledge of “temperament” as a branch of traditional or ancient medicine and to present a new method to the research subject. The provision of patterns for the classification of dramatic characters has provided a temperamental capability that can be used as a method in a variety of fields, including the characterization of dramatic works. This research was carried out with the descriptive-analytical method and the play of Martin McDonagh’s The Beauty queen of Leenane nin was used as the study sample of this research.