جستجوی مقالات مرتبط با کلیدواژه « قرون وسطی » در نشریات گروه « هنر و معماری »

Christianity did not only reflect in theological and philosophical issues but also its teachings find expression in art. This view, was first, developed in medieval Christianity by using icons, symbols, and signs as well as the advent of Carolingian and Romanesque art and the construction of basilicas and huge buildings such as Gothic cathedrals in the first half of the 12th century. Painting, sculpture, and architecture are the three main fundamentals, representing the above elements, which were used to build cathedrals. Gothic churches, as a divine art, are the most recognizable and magnificent architectural examples of the late middle ages encompassing various artworks and a center for the collection of all visual arts directly and literature and music indirectly. These buildings were a combination of spirituality and religious aesthetics of Christian teachings as a superior and transcendent matter and human attention to natural phenomena as an experimental approach. Thus, this article aims to address the question, how did aesthetic concepts and principles of medieval Christian teachings impress the formation of the structure and decorative patterns in the architecture of Gothic churches?

The humanism of Renaissance art is generally considered the most important difference between it and Christian art of the middle centuries. Due to the fact that in the Renaissance era, a precise philosophy was not formed regarding the definition of man and his place in existence, the theoretical foundations of the emergence of Renaissance humanistic art are subject to many questions. By looking at the opinions of medieval theologians and studying its continuation in the Renaissance period, it is possible to recognize some roots of the formation of the mentioned art. Saint Augustine, in the doctrine of "I believe in order to understand", on the one hand considered religious faith as the source of rational knowledge, and on the other hand, in the depth of meaning, he considered the truth of perception and knowledge dependent on human action.Abelard's theory of doubt as a means to reach the truth, Saint Francis's explanations regarding the fact that the truth is below and inside man rather than above, as well as the belief in the originality of the individual, which was proposed by Ockham, as the theological foundations of the Middle Ages in Along with the scientific achievements of the Renaissance, they were effective in the formation of the humanistic philosophy of that period.After studying and recovering the effects of medieval philosophy on the renaissance period, this article tries to follow the similarity of the mentioned philosophical developments in the world of art. The research method in this article is descriptive and analytical, information collection is done in a library style and data analysis is done in an inductive way. According to the findings of the research, it is clear that the ruling opinions of Christian theologians were effective in the formation of modern thought and, accordingly, the humanistic art of the Renaissance. In the emergence of perspective rules as artistic Subjectivism and also in the representation of God-like man, this effectiveness can be clearly recognized. Although Renaissance painting emphasized natural beauty and physical forms, it did not lose the religious meaning of the past. The simple figures of the past gave way to a kind of luxurious beauty, self-presenting faces with precious clothes, which were obviously full of worldly power and lust. Even the image of the God of Christianity was depicted in the form of a strong and beautiful human. The human-like and powerful God had a sign of belief in God's existential dominion over human rationality. On the other hand, the discovery of new rules of perspective in Renaissance artworks was an attempt to create a rational methodical knowledge of the outside world. Although this vision is apparently at the opposite point of the pictorial tradition of the Middle Ages; However, due to the fact that the principles of philosophy based on the originality of the subject were not explained in this period, it is possible to look for the roots of some of the achievements of the Renaissance era in the past. Where Abelard, by emphasizing the place of doubt as a means of receiving truth, gave theological perception a human and indeterminate nature, or Ockham, who considered science to be the product of human experience and observation, all of them are in the malleability of the idea of representing the world based on indeterminate rules and human sensibility. And finally, the establishment of deepening laws were effective.

With the advent of Islam in the 7th century AD, the course of artistic trajectories was transformed enormously, and in the shadow of Islamic civilization, an opportunity was provided to other nations to benefit from artistic and cultural achievements. Meantime, Persia had the highest position of gaining interest in other nations because the vast majority of Islamic art was rooted in Persian art (Sassanid), and in this way, and in this way, the dark and silent Europe during the middle ages, most of whose lands were conquered by Muslims, gained the most.In the 12th century, the Normans overthrew the Islamic State of Sicily and inherited the achievements of Islamic civilization. The aim of this research was to study the aesthetic components of Persian art and to introduce some of its global effects in the form of Sicily Island in the Norman period art and to analyze historical events as well as the process of transferring to other nations. To identify influential trends in the process of transferring Persian culture and art to Middle Ages Europe and Especially Sicily, as well as determining the role of the motifs and concepts which are used in this area’s art works and has been impacted by Iranian art, It should be said that the spread of Persian art in countries has been emerged through direct and indirect factors: the Crusades, Muslim conquests on European soil and consequently, the Governance of the Muslims in this region and residence of Iranians, Trade in Italian peninsula with the Islamic World and especially Translate scientific resources that reserved to Iranians and muslims. What we call Persian in the works of Sicily are: Iranian mythical themes, decorative and lyrical like Griffon, Hunt, Plant motifs, Dance, Animals around the tree of life especially in textile design which is somehow a reflection of their Iranian origin, Animal Controversy, falconers on horseback, Horseback riding shooter. This research is of historical type and analytical-comparative method, and has been done by comparing images, and data collection method is secondary research.

One of the most contentious issues in aesthetics is whether there is any place for ‘truth’ in art or not; an ancient subject which still arises various debates between contemporary philosophers. The notion of St. Augustine, a late Ancient and early Middle-Ages philosopher, about representational art works is remarkable. Since painting and sculpture are mimetic in their nature and consequently contain less numerical order and unity, Augustine gives the lowest ratio to them among others. In addition, he believes that representational art works involve in inevitable falsehoods. In fact ‘false’ is such indispensable issue to art works that without it, there would not be true art works. Failure to reconcile one to the falsehood of an art work amounts to a failure to reconcile to art in general. In this paper, it will be tried to show that Augustine’s theory of “the dialectic nature of artworks” is a remarkable step in history of the modern theory of autonomy of art. Moreover, though Augustine’s theory of beauty and art is specially religious and spiritual, his theory of the dialectic nature of artworks could be seen as the base of a secular interpretation. On the other hand, he gives an emphasis on presentation in art which could be one of the conditions of existence of artworks.