جستجوی مقالات مرتبط با کلیدواژه "aesthetic experience" در نشریات گروه "فلسفه و کلام"

The purpose of this research is to explain the role of the Islamic form and its relationship with meaning in Islamic art, from the perspective of thinkers in this field by citing examples of architecture in the Islamic era. In this qualitative research, the possibilities of form in the excellence of Islamic art, beauty criteria from the perspective of Islamic sages, and considering the formal elements in the architecture of the Tabatabaei family's house were described and analyzed. The results of this research can be summarized as follows; from the point of view of known Islamic philosophers, the importance of the form in the excellence of Islamic art is that the audience approaches the spiritual experience through this art. In comparing the position of the form in Islamic aesthetics with the concept of form in Western aesthetic thinking, it is evident that the role of the Islamic form is in discovering and recognizing mysteries in the phenomena, and the importance of this role can only be identified in the connection between the form and its meaning. Islamic formal elements such as centrism and geometry, symbol and code, light and color, and abstraction have clear evidence in artistic works such as carpet art, painting, calligraphy, and architecture in the Islamic era. In a case study of the Tabatabaei house, elements such as center and geometry, code and symbol, color and light, and abstraction connect sublime concepts such as unity, goodness, perfection, and beauty.

One of the issues studied by Muslim philosophers is the effect and emotions in response to various forms of artwork. The nature of these experiences and specifically how emotions in the arts are perceived and represented on a subjective, bodily, and evaluative level is a heavily debated issue.To arouse emotions and imagination are the main features that define an artwork in Avicennian philosophy. Thus, through a comparative- descriptive study, we aim to address the raised questions: what kinds of emotions aroused in facing a work of art? What factors evoke emotions? How emotions interact with the perception and judgment of the artworks and their beauty? In his works, Ibn Sina mentions different types of emotion that work of art can elicit e.g. positive experience including joy and pleasure and negative emotions negative emotions of fear, anger or disgust as well as confusion and bewilderment, happiness, etc. Studying his works reveals that the collaboration of the three factors of form, imagination, and human nature evokes emotions. Moreover, emotions in the arts affect us on a subjective and bodily level which influences aesthetic evaluations emotions in concert with cognition are ways to understand the meaning and judge the beauty and value of a work of art.

In modern times, with the avant-garde movement, recognizing the aesthetics object from a non- aesthetics object is difficult or impossible. Beardsley is one of the formalist philosophers who seeks to define the aesthetic object in order to make a difference between art and non-art. He first of all distinguishes aesthetic object from other aspects, such as paying attention to the artist''s intention or the author''s intention and audience’s perception, that the aspects are considered to be false inputs in the functionalist pattern and disrupt the aesthetic experience. According to this theory, the function of art is the make of aesthetic experience, which is characterized by features such as unity, complex and intensity. These features are followed by artistic value, the value that is the subject of the recognition of an artistic object, and the critic must be know it to use them in the evaluation of artwork that is content-centered. Because the aesthetic experience in art is its value and the only necessary condition for the work of art and is formed on the basis of a positive verdict, the purpose of this study is to identify the aesthetic object from the Beardsley view which can be defined by art. Our methodology, in terms of the nature of the research, is to collect materials through a library study and Internet search, then we examine and analyze them in order to obtain Beardsley’s definition of the aesthetic object and its status in art criticism

Studying the intersection between religious experience and aesthetic experience can shed more light on the relationship between religion and art. Do similarities determine whether they have the same origin? Can we expect the same result from both? The present article has used library method in collecting information and descriptive-analytical method in inference. Common contexts such as philosophical and literary movements have played a role in shaping religious experience and aesthetic experience. Kant's subjectivism has had a serious impact on both, and they have very close epistemological similarities. After Kant's subjectivism and the reduction of religion to religious experience and beauty to aesthetic experience, many scholars felt that the relationship between religion and art had been severed altogether, and that modern thought has been able to break this close connection with the classical period; But after studying the commonalities between religious experience and aesthetic experience, it can be felt that despite Kant's project in the separation of religion and beauty, the two are so close that some consider the aesthetic experience to be a continuation of religious experience through different mediums. And after Kant, the link between beauty and religion has not disappeared.

One of the points of strength of the approach of Dewey to art lies in the fact that he has a dynamic vision of the nature of art. The current essay seeks to provide an appropriate answer regarding the question of the diversity of forms of artistic forms in contemporary era based on the explication of creation of work of art focusing on the notion of aesthetic experience in the ideas of John Dewey. The nature of art it has a better capability as regards the explication of the diversity and evolutions of the forms of artistic expression in the contemporary era. What makes the meaning of the works with this extension understandable for the audience is the artist's taking advantage of the historical and cultural element called emotion. By changing the primary crude emotion into a refined emotion the artist takes advantage of the symbolic and meaningful systems and invites the audience to experience the life world. The work of art is an extra-real object in the world. In aesthetic experience selection and taking advantage of the past meanings and symbols enriches the form. Form unites the emotion, act of expression, media, and system of symbols, knowledge and interaction. Degrees of collection and connectivity of these factors and also communicative and contextual factors that constitute a spectrum of the forms and it is in this way that the form of work of art in the contemporary world goes beyond its material form

French philosopher and aesthetician, Mikel Dufrenne, is not such well-known in the phenomenological tradition, thought he was more concerned with aesthetics and art than his contemporary phenomenologists. In his book, The Phenomenology of Aesthetic Experience, he presents a phenomenological attitude, through merging aesthetics with art, which differentiates him from his contemporaries. In this book,he presents a new phenomenological definition of the a priori and considers the concept of the “affective a priori” as a main principle in the aesthetic experience.  This article attempts to clarify the concept of a priori in Dufrenne’s doctrine, and particularly the role of the affective a priori in the aesthetic experience, as the keys to a better understanding of his idea.

The epistemological approach of a thinker influences his attitudes to education، and determines teacher activity in the learning process. This article through a qualitative approach and based on a ‘descriptive- inferential’ method، examines the necessity of aesthetic experience in education based on Allama Jafari’s epistemological principles. So we at first، according to his works، consider Allama’s epistemological elements as theoretical principles، then focusing on his cognitive pluralism، explain the necessity of aesthetic experience in education، and analyze the importance of its use in the education system. The results show that regarding epistemic pluralism can get rid us of narrow perspectives in education and can lead us to a special kind of literacy i. e. aesthetical literacy