فهرست مطالب مهدی قادرنژاد حمامیان

The main subject of this article is the form of the mihrab in Iranian-Islamic architecture and the symbolic meaning hidden behind it. Mihrab is an ancient form in architecture, and by studying its constituent elements such as arch and dome, one can find out how it was formed and its hidden meanings. The main question of this article is: "What is the symbolic meaning of mihrab in Iranian-Islamic architectural spaces?". To get a clear answer to this question, both aspects of the form of the altar should be studied. This research seeks to build a framework for understanding this problem using Erwin Panofsky's iconography method.This article is from the point of view of development goal and in terms of analytical-case nature. The data of this research have been collected by documentary method. Based on the results of this research, the altar form is an old form in Iranian-Islamic architecture. In terms of formal structure and meaning, the form of the altar depends on the main elements that make it up, such as the form of the arch and the dome. The influence of arch-domed forms, which is the creator of a religious-ritual form similar to the mihrab or the mihrab itself, can also be seen in other civilizations. The form of an arch in the shape of an Iranian four-arch shows the continuity of an old pattern in the construction of the altar form, which has both a religious and functional aspect and a symbolic-sacred aspect.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

Warburg is one of the most inspiring figures in the German tradition of art historiography. Although one of the well-known aspects of Warburg’s intellectual work is its relation to iconology, this article seeks to go beyond the conventional understanding of Warburg to mapping a picture of his “special” view of the image as a whole. To this end, by re-reading the classic Warburg texts and new interpretations of those texts, an attempt has been made to examine the place of his approach to the “image” in the tradition of German art historiography and the key concepts of his intellectual system in this field. The findings of the article show that in this system of thought, we can see the traces of the ideas of thinkers such as Friedrich Nietzsche, Jakob Burckhardt and Robert Vischer. In this context, Nietzsche’s “Apollonian-Dionysian” dichotomy, Fisher’s concept of “empathy” and Hegelian Burckhardt’s totalitarianism were influential in formulating Warburg’s particular conception of the Renaissance art. In this regard, Warburg devotes himself to the study of a concept called the “afterlife” of antiquity and other concepts such as pathos formula, dialectic, and empathy in Renaissance art and thought. It seems that most of these concepts revolve around the idea of “survival.” According to Warburg, since art has a history, images also had remnants, remnants that reveal themselves in connection with the concept of memory and in connection with a concept called pathos-formula. In this sense, Warburg focuses on gestures and their transmission through art. The result of such an effort is a silent language design free from argument. Expressive gesture analysis offers an unusual way of looking at past shapes and allows the audience to find images of the past in the present. This is the meaning of the afterlife and the survival of the images.

Iranian's today art is an art that has been formed in the contexts of contemporary art, and its concepts and structures are subject to the requirements of this larger paradigm. This new world, like the world of religion, is made up of the apparatuses of power and its agents. In our study, religion and art are considered as two identical texts. The main purpose of this study is to matching the structure of the religious world and its spiritual system in constructing the dominant model of the era with the world of contemporary art. The structure of the religious world has a direct impact on the dominant ideas of the time, their factors and actions. To this end, the realms of religion and art and their inner spiritual system must be revealed as a field of idea circulation, and by expressing the relation of each of them with the structure of power, based on the Weber's sociology of religion, try to achieved a classification of the institution of art and its agents.Our goal is to answer to this question: How does institutional structures of contemporary art such as galleries, shape the cultural policies of Iranian contemporary art? In order to achieve this goal, the present research has studied the HOMA Gallery as one of the influential centers in Iranian art today. Among these, the constructed texts by this gallery are the most important tools of our analysis.

Statement of the Problem : How does the spiritual system of religion affect the dominant paradigm of society? What are the factors which shapes the world of contemporary art? In which ways the institutional structures of contemporary art, such as the gallery, have shaped the shapes and forms of the art world? GoalPurpose and Method: The main idea of this research is about the structure of religious world and its impact on the dominant idea of the era and their factors, actions, and the hierarchy of power. To understand this hierarchy and the development of spiritual apparatus, firstly, we consider the world of religious thought and its impact on the formation of hierarchy and the behavior of subjects investigate and in the next step, we consider the agents-institutions and their ratio with the dominant idea in the contemporary art world. In this study, religion and art are considered as two homologous texts. Considering the role of institutions and its’s agents in the creation of the religious world, it seems that this route can be traced more correctly their ,. It could be seen that here the Church and its spiritual apparatus have a great deal of association with the organizations and institutions of the world of art and its hierarchical construction. The church is like a spiritual apparatus, which systematically and organizationally looks for building patterns and practice method. The equivalent of it in the art world could be seen at the museum-gallery and be matched with it. The present research attempts to study the contemporary art world and its branches such as Iranian contemporaw23ry art, through considering the issue of legitimacy and the role of the spiritual experts of the world of art in constructing and shaping all aspects of contemporary art and aesthetics through the exercise of this legitimacy. The methodology of this research is stemmed from the Weber’s sociology of religion and its special impression in analyzing of the clerical system of religion. We have analyzed and categorized our data based on this theoretical context

The problem of Autonomy of art in Adorno’s aesthetic is one of the most valuable and impressive subjects in contemporary aesthetic. On the one hand, Adorno uses “monad” metaphor (in Leibnizian meaning) for describing autonomous art work, and, on the other hand, he introduces art work as an absolute commodity. This study wants to answer this question: according to Adorno’s idea, how autonomous art works are to be realized under the condions where commodified relation are dominated? Understanding this subject is dependent on conceiving the theoretical basis of Adorno’s philosophy and especially his negative dialectic theory. In the first part of this study I would try to prove the necessity of Adorno’s dialecticalhistorical defense of autonomy of art with a short explanation of his non- identical thinking approach and negative dialectic theory, as a basis of his philosophy. In the second part, while explaining the aspect of political economy in the theory of negative dialectic and by elucidating the dominant commodified logic in art, I would try to clarify that the art work reveals the absolute commodity to be an aspect of autonomy.