جستجوی مقالات مرتبط با کلیدواژه "باور به پیش" در نشریات گروه "هنر و معماری"

The primitive tribes had ancient beliefs that arose from the innate sense of God-seeking among them; These beliefs, which have been manifested in different eras in the form of mana, fetish, enzyme, magic, sacrifice and totem, were found during the innate, belief and mental process of human beings, and after appearing in different religions and sects, in The gradual extent of its evolution has also overshadowed human life today. Ancient primitive beliefs in the beliefs of primitive religions and different religions have the same form, a formal similarity that seeks to share the collective layer of the subconscious mind with a limited view of the human mind of that time. Was analyzed and based on a fundamental belief, that some of these ideas, including mana, fetish, and animism, can be examined in terms of quantum physics and belief in cosmic consciousness, in terms of the physical, vegetable, animal, and human consciousness, the effect of energy. The vitality of the universe to each other, the recording of waves in the cosmic memory, the belief in various elements are intensified. Among these beliefs, fetish, totem and magic have received the most attention, some of which retain their name and symbol in Persian myths and epics. Has found its way. In this process, some beliefs, without mentioning their background in popular beliefs, have a colorful sign that are sometimes brought to the world of science from the field of superstition through genetic and psychological studies.

The Persian Sassanids Empire, were the originators of a magnificent culture and art representing the ‘Parthian’ and ‘Achaemenid’ legacy with all its naturalistic manifestations. There are numerous architectural works, reliefs, paintings, woven fabrics, antique dishes, metal objects, glass things and war ordnances that have been remained from this era due to the presence of treasured coins with symbolic engravings and the calligraphy of Pahlavi era. The Sassanid art is considered as the ‘Modern Persian Art’ comprising the past traditions, and has established the Persian Paradise or Earthly Heaven in the history of world architecture by presenting the magnificent and distinctive landscapes in the form of holy sanctuaries/worship places, palaces and hunting grounds. Additionally, in the fields of architectural decoration, relief, fabric designs, ancient utensils and objects, the Sassanids were applying the natural elements in a symbolic form. The Sassanid art has been appeared in a wide range of lands from ‘Fars’ (Persia) to ‘Ctesiphon’, ‘Kermanshah’, ‘Sistan’ and ‘Azerbaijan’, relying on the naturalistic ideas and believes in the goddess of Mehr and Anahita, and following the Zoroastrian believes, as valuable works in various branches of art has been remained accordingly. Most of the architectural works of this time, including worship places, palaces, hunting grounds and 34 ‘reliefs’, have been established t next to the Natural elements such as mountains, water and trees in the heart of Nature. The Sassanid can be considered as the greatest landscapers in the history of Iran (Persian land), as the worship places, palaces and hunting grounds, and their ‘relief’ on mountain walls and cliffs can be referred to as the great indication of these architectural works.

Although garment studies have been widely practiced as cultural phenomena, nomadic garment designs and in-depth studies have not been addressed. Nomadic apparel, as an example of ethnic art, is a cultural product which indicates how the structure, shape, and role of nomadic clothing are the main issues of the present study. Bakhtiari, as one of the largest nomadic tribes of Iran, preserves a life based on nature, observing which makes it is possible for researchers to have a deep and participatory understanding of the field of research. Therefore, in the present study, the main purpose of identifying cultural components in the form of Il Bakhtiari’s clothing was to address this issue by adopting a qualitative approach to cultural studies using a functional anthropological method. The main questions are: why clothing has remained stable in the nomadic community? And also, what role does culture play in shaping the structure, role and color of the tribal garment? The study of culture is essential, and it is so important from the perspective of the garment study that it can serve as a mirror which reflects a whole view of human culture to provide a more comprehensive understanding of human lifestyles, and beliefs that are highly important to the nomads' dependence on the species. He reveals their clothes. Therefore, the study of Bakhtiari men's clothing also seems to have a central role in culture. The research method is qualitative and descriptive-analytical in nature and data collection is done by library and field research methods using participatory survey and observation tools. Therefore, textual analysis and presentation of tables to recognize the visual and structural components, roles and colors of garments, have been considered which were studied in three categories of head covering, foot covering and tone covering from both descriptive and thematic angles. The research population is tribal garments of the Bakhtiari tribes which are the examples in this research. The necessary information was gathered through library resources and field methods with the main tools of participatory observation and observation, and general sections of apparel, including the Bakhtiari men's apparel, cover and tunic are studied as examples in terms of the color and shape. The role was also analyzed. The findings of this study indicate that the clothing structure of the Bakhtiari men reflects the cultural manifestations of this ethnic group and is rooted in their religious and mythical beliefs, among which are the signs of secularism and Zoroastrianism. Consequently, in accordance with the nomadic lifestyle, the relationship between the structural system of the garment and religious beliefs as well as its transcendental status is one of the most important reasons for the stability of Bakhtiari men's clothing designs and motifs. The structural features of the Bakhtiari men's garments, due to their non-alignment, are a circular embodiment that is directly related to the dynamics of nomadic life and reflection, reflecting the constant movement and flow of life, and mediating the balance between the earth and the sky.  Bakhtiari man in this clothing is a virtuous individual who is committed to preserving nature and the flow of life. Because of the visual characteristics of their garments, it became clear that this garment is sacred, and in a way, expresses the religious thinking and ideology of the Bakhtiari tribe. Given the choice of black and white and the interpretation of the black (down) and white (up) roles, this was clearly observed. The nominal parallels and motifs used are of a kind of harmony, so due to the important position of the mountain or the Chogha in the ancient religions, the position of the gods in this matter was not only a very important one in the religious life of ancient times, but also in the lives of the Bakhtiari tribes. It has been critically acclaimed and reflected on architecture, nature, funerals, and ultimately the role and name of clothing. Therefore, when the structural system of clothing originates from the outline of society and its culture, this continuity becomes so profound that, despite its hidden features and qualities, it still maintains its sustainability and finds cultural value and status. Slowly, the primacy of existence and the ethnicity or the ethnicity of the Bakhtiari person is based on their clothing.

David Hume, the Scottish empiricist, wrote a very short essay called “Of Tragedy”. It is always treated as an important text when discussing Hume’s view on tragedy. Hume begins the essay with the following question: why is it that tragedy is pleasurable, in spite of the painful passions it causes? Hume focuses on tragedy and its relationship with passions. So far Hume’s view on this relationship has been formulated in many different ways, one of which is Hume’s conversion theory. According to this theory, painful passions are turned into pleasurable ones using stylistic and formal rhetorical means. This view has been constantly proved, disproved, edited and changed by either its supporters or its critics. However, in most cases, the supporters or the critics agree that tragedy induces pleasure using poetic or rhetoricalstylistic means. This view goes on to argue that all the functions and effects of tragedy should be reduced to functions and effects of taste and aesthetic, focusing on the production of pleasure. This paper tries to explore other effects of tragedy according to Hume. First I would analyze and explore the ignored parts of the “Of Tragedy” essay, then I look into Hume’s thoughts on tragedy, scattered over other Humean texts and finally, I would situate Hume’s essay in the broader context of Hume’s philosophy to compare his other philosophical ideas with those focusing on tragedy. This way we can analyze other effects of tragedy according to Hume, especially its effects in the domain of cognition and mortality, and also find a way to reconsider Hume’s conversion theory.