جستجوی مقالات مرتبط با کلیدواژه « Art historiography » در نشریات گروه « علوم انسانی »

This paper attempts to extend Ladislav Kesner and Richard Elbridge's insights toward collectivist explanation in art historiography in response to Branko Mitrovic's critique in “Rage and Denials”. A counterexample situation in architectural historiography is propounded to elucidate how a collectivist explanation in a moderate realist form is not only apt but, in some cases, inevitable. It relies on our primary claim, the possibility of some non-essentialist, non-ideological, non-deterministic and non-egocentric collectivist explanations, regarding the main faults assigned to collectivist stances in art historiography by Branko Mitrovic. The Counterexample situation explains the possible actions not implemented and decisions not taken in designing a building. In addition to the choices that led to the final formulation of the artwork, one must also consider the other options available, those possible choices that were left out, to clarify feasible limitations and, conversely, the choices that led to the emergence of the work. Even considering that all final decisions merely result from chemical interactions in actors' brains, one cannot judge alternative options the same way, some of which did not even occur in the artist's mind or the network of agents involved. The repetition of dismissing these alternative options during a long-durée, thus the formation of a pattern, cannot be explained by the individualistic stance proposed by Mitrovic.

This research is a critique of “How to use your eyes” by James Elkins. He is an important theorist of art historiography with a critical view of traditional theories about art history. The book's subject is "observation". Elkins carefully observes a wide range of visual phenomena in two main categories: man-made and natural, which have different dimensions: historical, artistic, technological, linguistic, cultural, social or completely natural. He intends to teach correctly seeing. Here, the main question is about pattern forms the book basis and tries to extract his mental pattern by analyzing various book elements. The initial assumption is that the author specializes in visual studies of art history, has indirectly proposed the qualities ideas and how art historian activity dealing with various phenomena in art and culture. Therefore, his writings and basic theories have been explored. The research shows that many cases related to observation can be adapted to activities and different approaches in the historical art research and some of the main views of the author can be identified beyond them. For Elkins, correct observation free from the defined formats is the key to und erstand art history. In his opinion, history cannot be perceived only by studying art works. Observations of other visual phenomena in today's culture can deepen its understanding. Different expertise and knowledge are required.

Ḥadīth is considering as the most important source to know the religion of Islam after the Quran. Therefore, studying Ḥadīths is necessary to know Islam teachings in respect of beauty, art and recognizing art condition in the early Islamic period. However, little attention is paid to Ḥadīth in art studies. For having the most out of Ḥadīths, obstacles and restrictions confronting the art researcher should be considered first. The main question of the article is that what are the obstacles and restrictions confronting the Islamic art history researcher for using Ḥadīths? In this study, it was indicated that Islamic art historiographer confronts serious problems and obstacles due to differences between the contemporary horizon and the horizon of Hadiths expression and compilation and different requirements of these two worlds, the issue of dating and validity assessment of Ḥadīths regarding art, the issue of understanding vocabulary regarding art in the first centuries of Islam, and visual language differences with written language and its influence on using Ḥadīths in the reconstruction of early Islamic centuries artistic world. Thus, the Islamic art researcher should go to Ḥadīths with the knowledge of leading restrictions not to have misconceptions and superficial analysis.