فصلنامه کیمیای هنر
پیاپی 43 (تابستان 1401)

The Indian jewelry is something beyond merely being worn to adorn the body, and acts as a medium of Indian tradition, historical identity, and culture. Nowadays, what receives much attention from every viewer in the Indian society is the simultaneous presence of different cultures that are not expected to be removed in India, but are extend in the heart of the historical-cultural changes of India, which are well manifested in the contemporary jewelry. Thus, the present study attempts to refer to Bakhtin’s dialogism approach as a method to study the works, and discuss how dialogism has emerged in perceiving the concept of contemporary jewelry. The goal is to understand their formation based on the concepts of dialogue; because according to Bakhtin, dialogue is a special way of viewing the world. Also, the manifestations of meaning in Indian jewelry may exist implicitly; therefore, considering a context at the center of another culture and as a result of dialogue, their understanding would be possible. The study findings have been obtained via a descriptive-content design, which states that the artist, once as a creator, enters into a conversation with the audience according to the types of speech and polyphony, and once again as an audience forms the text from the outside and communicates with “the other”. So, these works act as a material medium that gives a tangible artistic form to the dialogue and allows it to circulate in the society as a speech act between self and other or between the artist and the audience. Hence, there is no first or last word in the jewelry, and their meaning is endless. Finally, we as the audience look at these works in specific personal time and place, which were apparently created in 2020 by an Indian artist; however, in fact, it does not totally belong to the artist and always refers to the past.

One of the materials used in compiling the history of   Iranian art is Murraqa. Started from the primitive forms, these Muraqqas  have gradually become specialized, and, in particular with the addition of the preface, have played an important role in drawing aspects of Iranian art history. Bahram Mirza’s Muraqqa (951AH) is one of the prominent works in this regard; a collection with an important preface, and impressive images, calligraphy and embellishments. This research aims to classify visual genres in Bahram Mirza’s Muraqqa, and to describe the features and the functions of the social archigenre and its distinctive themes. The analysis is concerned with such questions as which of the genres is the dominant one, and how the style and the themes are related. It is hypothesized that the social archigenre dominates Bahram Mirza’s Muraqqa which is consisted of the themes of the court, prominent figures and their social status. Based on Gerard Genette’s theory, the paintings are of epic, social, and lyric archigenres. The article, focusing on the themes of the social archigenre, tries to show first the importance of these images and then their distinctive features. Examiantion of the content and form of these paintings shows that changing social context and possibly the tastes of the patrons of the works has inclined the painters to show   “ humans” of various social classes. The analysis of these paintings demonstrates some of the relations and aspects of the social life in the court. Moreover, it reveals parts of the ups and downs of the painting tradition of that time and its connection with the naturalism of the next generation. In Bahram Mirza’s Muraqqa, such social classes as rulers, courtiers, warriors, and servants with realistic details of their own are identifiable through visual evidence provided by the social archigenre. Methodologically, this basic research includes description, analysis, and evaluation processes which have been overlooked in some respects in previous researchs.

Aesthetics of everyday life is one of the branches of aesthetic knowledge. Until the 20th century, classical aesthetics focused on the subject of visual arts and paid less attention to the formation of fine arts in the context of human and nature’s daily life experience. During the last few decades, a movement emerged that, by avoiding that one-sided art-oriented approach, tried to create a close link between the experience of fine arts and the experience of other areas of daily life. This led to the emergence of a new field of study called the aesthetics of everyday life. Pragmatist philosopher John Dewey explained his views on the concept of aesthetic experience of everyday life in the book Art as Experience. The main purpose of the article is to find out what is the beauty of everyday life based on John Dewey’s views. Therefore, after examining various concepts and theories about the aesthetics of everyday life, two analytical examples of the aesthetics of everyday life in the architectural art of traditional Iranian houses (Mollabashi House of Isfahan) and the art of poetry (Sohrab Sepehri) are examined. The result is that the aesthetics of everyday life is the “aesthetics of presence” which, when confronted with anything, both beautiful and ugly, causes a change in the type of human presence in the new global life with a haptic pattern. The compilation of this article is in the form of taking samples from library sources and reliable internet sites, and the research method is descriptive-analytical.

In addition to the numerous goals mentioned for Albums Prefaces, they were also an opportunity for writers and artists to defend the existence of art and artist. The present study tries to pay attention to this part of the albums prefaces and answer the question that what methods did the authors of the albums prefaces in the Tīmūrīd and Safavīd periods use to legitimize art? The purpose of this study is to analyze the historical texts of Persian Art in order to determine the methods of legitimizing art by the authors of the albums prefaces in the mentioned periods. In this way, a descriptive-analytical method was used. The statistical population of the research includes all the prefaces of the albums in the Tīmūrīd and Safavīd periods, which have dedicated a part of the text to this issue. This includes six prefaces. The method of collecting information is library-based. The findings show that for the first time, Sharaf al-Dīn ʿAlī Yazdī, by making changes in the structure of the prefaces, paved the way for writing the preface on the album. In Continue, by examining the content and arguments of the authors of the albums prefaces of Tīmūrīd and Safavīd periods, their methods of legitimizing art were extracted and compared in a table. The results show that the authors of the preface have used five methods to legitimize art, which are: 1. The Ontological Method legitimacy through the place of art in the system of existence; 2. Functional Method legitimacy through the functions of art in society; 3. Intrinsic Method legitimizing by proving the unique and legitimate basis for art; 4. Historical Method legitimizing through a reputable person and the Master-Student chain, and 5. Narrative Method legitimizing art by using Hadīths and narrations about the merits of dealing with art.

This article aims to compare the paintings of Gurkani School( paintings of Mughal Court in India) and the paintings of Herat school, based on Coomaraswamy’s thoughts. Coomaraswamy’s thoughts have been used in comparing the two schools, because there is something unexpected in his works, that is, attributing undesirable elements to Islamic art! While, other proponents of the Traditionalist School, have been praising this art. Thus, our purpose is to show the undesirable elements do not exist in the whole structure of Islamic art. Rather, it exists only in a part of this art, especially in the paintings of Gurkani School unlike the Herat School, which is approved by Coomaraswamy, as one of the glory examples of Islamic traditional art. This purpose is pursued through a descriptive-analytical research method with a comparative approach. The findings reveal that  the existence of non-traditional elements in the Gurkani School such as paying attention to the artist as a unique character, using historical subjects, imitating nature, employing worldly and luxury oriented views has separated this school of painting from Islamic art tradition. Whereas, the School of Herat is identified with its traditional characteristics, for example, having a traditional origin, conceiving the artist as a part of the traditional process, and encompassing metaphorical themes and styles.

The paper examines the ethical dimension of Yuriko Saito’s aesthetics. Her recent work explicitly points to the inseparability of aesthetics from the rest of life, especially moral concerns. She believes that aesthetics requires overcoming the subject-object gap and adopting an open-minded attitude, responsiveness, interaction, and cooperation. These requirements not only define the nature of the aesthetic experience, but also, more fundamentally, how we are present in the world and the moral responsibility that comes with it. The article addresses the question of how ethical judgment influences aesthetic judgments by Yuriko Saito. Also, the hypothesis of this research is that, from the point of view of this thinker, the aesthetic matter is not separate from the moral matter and the aesthetic status of a work of art or urban environment depends on its moral status. This paper has been done by descriptive-analytical method and data gathering is library-based. Yuriko Saito’s views on the aesthetics of the description and important aspects of her worldview and aesthetics are analyzed.

Handwoven carpets as one of the main export items of Iran during the Qajar period underwent significant integration with the world economy after a series of foreign companies were established. As a result, the design, pattern, dyeing, and even weaving techniques of carpets changed significantly. There have not been enough considerations of all of these effects so far. We investigate the effects such a process had on Iranian carpets (patterns, sizes, colors, etc.) We examine the impact of such a process on the cultural dimensions and traditional characteristics of Iranian carpets (patterns, sizes, colors, etc.) during the Qajar period and the “implicit flourishing” of cultural patterns by foreign carpet weaving companies. What was the dominant cultural pattern that influenced Iranian hand-woven carpets? The purpose of this article is to recognize the consequences and changes resulting from the integration of Iranian carpets into global markets. This study presents historical data on the effects of globalization on Iranian carpets’ external structure (design, pattern, dyeing) and internal structure (texture and knot type) from two theoretical perspectives: “rupture and continuity” and “Flourished despite the rupture”. In all fields and elements related to carpets, the logic of profitability and exports has become more dominant, resulting in cultural assimilation of Iranian carpets.