جستجوی مقالات مرتبط با کلیدواژه « ایران درودی » در نشریات گروه « هنر و معماری »

Aesthetics is a branch of philosophy whose subject is the nature of beauty and taste, as well as the philosophy of art (it has its own field of philosophy that emerges from aesthetics). Also, aesthetics is an ability to better understand perceptions, as well as hard phenomena such as sculpture and soft phenomena such as music. It causes a change in a person’s mood and attitude. Ibn Haytham’s approach is akin to an experimental mindset based on a profound understanding of Greek science and philosophy, as well as the rational observation of humanity’s connection with the natural world and physical laws. Ibn al-Haytham’s proposed approach beautifully relates to a complex phenomenon. He has studied this subject as both a physicist and a thinker, leading to the establishment of this connection. Visual perception occurs because the eye is made up of layers, coverings, and numerous parts; however, its main component is located in the front part of the brain. In the treatise “Al Manazar”, Ibn al-Haytham’s explanation of the vision process as a major and preliminary cognitive experience has a surprisingly phenomenological and psychophysical tone. This issue is especially evident when he proposes the theory of sensory perception of the beauty of objects of perception (Al-Hassan). This treatise initially proposes an important scientific statement about the physical process of vision as a result of the actions of light and color and he believes that according to two principles of beauty in objects, they differ from each other, firstly because of the characteristics or general visual characteristics of those that he introduces in a list, and these characteristics are the general structure of objects or the ground. They create them, which create beauty also for example, light in the list of these 22 factors (characteristics), is the first item that creates beauty, and that is why we consider the sun, the moon, and the stars to be beautiful things, while it should be noted that the sun, the moon, and the stars are what enhance their beauty. There is no way to make things beautiful or to give them a beautiful shape, everything that exists is because of their brilliance. Ibn al-Haytham’s theory of perception of beauty takes into account the qualities and visual structure necessary in the work of art. It is necessary to research the potential aspects of his theories in the field of aesthetics and visual structure. Iran Darudi gives an Iranian identity to his works with aesthetic elements, he made light the main goal to get closer to the ideas of Iranian culture and also uses light to induce the expression of his feelings so that the audience understands the concept of the artist’s sense and he has reached this conclusion. that no color is a color outside of the radiation of light, and the colors are only in proximity and influencing each other, which reveal their quality and color. Due to the structural nature of painting, whose aesthetics is based on principles that are completely consistent with the 22 cases in Ibn al-Haytham’s opinions, the purpose of this article is to examine these theoretical cases and how to apply them in the art of painting, and to answer the question of how the aesthetic theory of light and color from Ibn al-Haytham’s point of view can be He understood the modern principles of aesthetics in the Iranian works of Darudi, first, he describes and analyzes the nature and characteristics of Darudi’s works and then analyzes those works with Ibn Haitham’s opinions. This article whose theoretical method is based on Islamic philosophy theorist Ibn al-Haytham. In this aesthetic approach that deals with the form of the work, Ibn al-Haytham defines aesthetics as follows “He defined beauty (beauty) not as a simple factor, but as a complex interaction between twenty-two factors.” This is a very subtle point that Ibn al-Haytham defined only two of these factors, light and color (which itself is a property derived from light). They have motivational power, that is, they can create an effect in the soul that makes the face look beautiful. The research method is practical in terms of purpose and descriptive-analytical in terms of perspective, and the information is also obtained based on library studies. The research results show the efficiency of Ibn Haitham’s approach in the field of aesthetics of contemporary painting. By achieving a powerful and masterful technique, this artist has been able to draw the most delicate and delicate spiritual vibrations and her aesthetic attitude on the screen of her paintings.

Problem Definition:

 The paintings of «Iran Darroudi» and the plays of «Heiner Muller» apply contradictory viewpoints and literary imageries to discuss the concept of power as an artistic force independent from any political ideology, while affected by the audience's internal and social understanding. Darudi uses indefinite colors and shapes, while Muller violates conventional acts and theatrical scenes in order to make challenge for the audience as a subject who is supposed to perform an active role in the discourse of power. These works do not make any judgment and do not give any definite message in order to put stereotypes under question and suspend the association of binary oppositions such as woman/inactivity, power/domination, past/present. The audience faces the challenge between existence and nothingness, which alters the frameworks of ideological domination and redefines the concept of power. Now, the major problem is that how different layers of meaning and which elements in form signify the concept of power.

The primary aim of this article is to compare and study the common aspects of power in the plays of Heiner Muller and the paintings of Iran Darudi.

This essay is based on a library research which collected data about "the concept of power" in the selected works to make a comparative study through a descriptive-analytic method. Two sample works are randomly selected and analyzed for each outstanding artist including: Muller's «Hamletmachine and Medea Material» and Darudi's «The Earth's Veins» and «The Revolt of Desert».

The comparison between the paintings of Iran Darudi and the plays of Heiner Muller signifies a common mechanism called subject-object permutation that develops the absolute meaning of «power» to a dynamic concept. The subversion of subject transposes the status of audience from a mere observer or an object to an inevitable subject who starts participating in the artistic discourse. Deconstruction of form leads to blending different styles in a way that they are not bound to any definite ideology. The selected works give a different interpretation of contradictory concepts such as woman/man, ontology/patriotism, development/originality and subject/object so that they reverse the dominant viewpoint.

Interdisciplinary studies linking art, philosophy, and theories of contemporary semiotics have opened a new path and vision to art explorations. The significance of meaning in artworks caused other disciplines to appear in art studies. This transformation implied that meaning in artworks is not an objective and evident component, requiring interpretation and analysis. Meaning can be transferred between different artistic media. Studying the relationship between architecture and painting is considered an essential interdisciplinary field of research. Architectural space is a media manifesting as a painting in its interaction with the artist.These studies have raised a profound understanding of the artwork's meaning. In addition, providing a scientific knowledge of art has made them well known. Moreover, there is a need for interdisciplinary comprehension of art with social and human approaches. The present article aims to examine the role of architectural space in the creation of paintings with an emphasis on interdisciplinary studies. The main question is, "considering painting a text entailing semiotic codes, what semantic approaches to architectural space can affect it through profound exploration of the spatial layers, and how can a painting be read? ".The general justification of this article is to explain and describe the relationship between architecture and other types of art, especially painting.Although architectural structures and spaces are a combination of applied and functional approaches, they can be studied as artworks to yield an interactive synergy between their aesthetic and semantic layers concerning other subcategories of art, such as painting. Moreover, in the next step, the paper discusses the meaning layers of the space in artists' minds. When painting, the artist detaches from the real world, reaching a clearer understanding of the mind's reality through an experimental journey.This mental projection involves new manifestations of spatial visualization within the image.The article used a qualitative approach to research based on an interdisciplinary study of architecture and painting. In the first section, spatial codes are embedded in different layers according to the space approach; then, a theoretical framework is introduced based on layered semiotics to read the spatial implications of the case studied.Given the apparent representation of architectural space in Iran Darroudi's artworks, we have selected her paintings (Everlasting Marriage; Steadfastness; Stupor of the Plain and Thirst of Desert) and collected primary data using a library-survey method.The results showed that the architectural space, transformed into a system of meaningful places for the artist, can be manifested in the painting as spatial codes. The painter expresses her idea of ​​the urban space in spatial signs in the form of isotopia, heterotopia, or utopia, which can be read in syntagmatic layers.In the textual and media layers, the physical reading of space is matched with the architectural typology method. In a principled correlation, spatial approaches are decoded in the code and text layer. Finally, spatial-phenomenological relations are identified from the painter's existential space in the intertextuality-coding layer. These may be read in textual, intertextuality, and coding layers, as well as semiotics, phenomenology, and typology.

Between the 1970s to 1980s, the “Freezing Period” is one of the most prominent periods in Iran Darroudi's career. "Loss" is a recurring themes of the works of this period. This paper intendsed to shed light on an aspect of the latent content in these artworks using a psychological approach and theoretically expanding two concepts: "mourning" and "melancholia."

This paper gives a psychological interpretation of how “loss-related” forms and themes have been applied in Iran Darroudi's Third Period of artworks.

This paper is a descriptive-analytical investigation of form and theme in the artworks ofIran Darroudi in the Third Period, from the late '70s to '80s. The study used the library approach for data collection.

Darroudi's works in the "freezing period" present an interwoven embodiment of personal losses (the death of loved ones) and social-historical losses (lost glory of the homeland), and the artist has visualized her desire to preserve and immortalize the lost object in various forms. The image of "ruins" on an eternal horizon, the predominant element in Darroudi's works in this era, gives robust references to "homeland" and representation of "losing" it. The artist has tried to "immortalize" and "eternalize" the lost objects by freezing forms behind a curtain of ice. These representations involve streaks ofarchaism discourse remaining from the Pahlavi era as well as the effect of the death of loved ones, self-exile, and the imposed war with Iraq in the 1980s. The recurrence of the attachment between the concepts of "death," "ruins," "homeland," "eternalness," and "eternity" in the context of these artworks implies some sort of "melancholic mourning." In this regard, Darroudi's works in the Freezing Period can be interpreted as in line with the embodiment of a type of "aesthetics of loss".