جستجوی مقالات مرتبط با کلیدواژه "نمایشگاه جهانی" در نشریات گروه "هنر و معماری"

The display of Islamic artworks has not had a uniform, integrated and stable narrative; these works have been displayed in different exhibitions in different ways and the concept of Islamic art has also been influenced by Islamic art exhibitions. Therefore, studying the works of Islamic art in exhibitions can reveal the hidden ideologies and direction in these art events.Exhibitions are not neutral and unbiased; they have special cultural and political connotation. According to Timothy Mitchell, these events select and arrange works based on the "Exhibitionary Order"; Exhibition order finds rules over time and imposes norms on the understanding and interpretation of works and objects. Therefore, the study of art events (exhibitions, biennials and festivals) is a good approach to explain how to interpret and recognize works of art. It is from this perspective that we can know how the works of Islamic art were known, interpreted and understood in different periods. In this article, we discuss the impact of art events on the introduction, collection and documentation of Islamic art; events that give direction to the art history and selection process of museums. These artistic events have influenced the introduction, collection, documentation, categorization and conceptualization of Islamic art.The present research method is based on event studies. Study of art events (exhibitions, biennials and festivals) is a good approach to explain the complex relationship between art and reality. Nathalie Heinich sees the study of artistic events as a pragmatic approach in the sociology of art that studies how values are produced and reproduced in exhibitions. In this article, we pursue the methodological questions of how these exhibitions present Islamic art. How do they shape narratives of Islamic art influenced by dominant artistic discourses and currents? In this article, the events and exhibitions of Islamic art in the three discourses of Colonialism, Nationalism and Globalism are studied and this question has arisen that: how three different narratives of Islamic art in the colonial, national and global discourses were formed? The event’s study can analyze the hidden and ideological functions of exhibitions in the construction of art history. The Data collection method in this article is documentary analysis and data organization is based on the trend analysis.The results of this article distinguish three currents of "world fair", "national festivals" and "art biennials". The world fair began with the first exhibition in 1851 and continued until the Mohammadi Art Exhibition in 1910 in Munich. The event, sponsored by one country each year, was an arena for the colonial powers to compete and show their power and influence around the world. The Ottomans, first participated in the 1867 Paris Exhibition, and Iran was the first to officially attend the 1873 Vienna Exhibition. Influenced by the development of French colonialism, the Egyptian and Moroccan pavilions gradually held more significant pavilions at world fairs. After the 1870s, unlike previous periods when booths were categorized by country, a special hall was created as Islamic art, which included works from Iran, Arabia, Turkey, Egypt and India. This exhibition was an important step in documenting Islamic art and changing attitudes towards Islamic art. Actually, In these exhibitions, under the influence of the West and influenced by the colonial discourse, that Oriental-Islamic objects and subjects were selected and acquired by Western museums; it was during this period that works and objects were collected, categorized and named, and an Orientalist conception of Islamic art was formed.In the first half of the twentieth century, with the development of the nationalist discourse and the establishment of new governments in Iran and the Arab countries, a new stream of national festivals and festivals began. In these exhibitions, which lasted from the 1920s to the end of the 1960s, Islamic art was considered as cultural heritage and part of national wealth, and the nationalist narrative dominated Islamic art. During this period, exhibitions were held not under the title of Islamic art, but on the basis of nations with the titles of art of Iran, Turkey, Iraq, Egypt and included works of Islamic art as part of the national heritage; the 1976 Islamic Art Exhibition marked the end of this stream. Since the 1980s, with the decline of nationalism and the rise of the globalization discourse, Islamic art exhibitions have entered a new phase. This time, Islamic art was presented as contemporary art in exhibitions, and the Biennial of Contemporary Art tried to present it as an artistic style beyond nationalism. However, what is displayed in these events as contemporary Islamic art is a narrative of contemporary art in Islamic lands. In other words, this current includes the experiences of contemporary art, which are often deconstructive and critical, rather than representative of Islamic art.

Throughout the history of world's fairs, architectural approaches and trends have undergone fundamental changes and developments. However, very limited research has been done on the architectural developments of national pavilions at the World's Fair. In this regard, the present study tries to determine how Japan has expressed itself through architecture during world's fairs and what approaches it has followed. The purpose of this study is to clearly understand the historical periods of Japan pavilions architecture in the World's Fair and to regulate the types of architecture used by this country in this international arena. The present study has used library and electronic studies with analytical-explanatory method and qualitative approach in order to achieve basic architectural strategies and approaches in the presence of Japan pavilions. The pavilions architecture of Japan, with regard to similar features, has illuminated special historical periods that have been analyzed, studied and organized in accordance with their content in the present study. The results show that four historical periods have dominated the architectural design approaches and strategies of Japan's pavilions, Which include the following: 1. The use of traditional patterns and styles (1873-1933), 2. Combining modern style with Japanese patterns (1937-1939), 3. Application of new technologies in combination with new Japanese patterns and approaches (1958-1992) and 4. Attention to environmental crises and the development of sustainable architecture (2000-2015).

The World's Fair is an exceptional phenomenon in history that began in the midnineteenth century in 1851 .This event (as the collective heritage of the whole of humanity) has evolved over time under the shadow of global patterns and according to the general trend of the world. In the historical review of the World's fair, there is a gradual change in its main goals; In a way that today, by moving away from the original goals or at least diminishing them, according to the experience of our time, has become a more global event. Although technological advances have played a major role in the World's Fair since the Industrial Revolution, these events have always reflected specific periods in history. Such developments in world’s fairs have not taken place according to a pre-designed process; Rather, given the progress, conditions and atmosphere of the international community in each period, it is happening. In addition, in the history of the World's Fair, the goals, programs, features and in general the process of presenting architecture have undergone fundamental changes. To the extent that in some special works and periods, the design of pavilions has been used as a tool to present new architectural styles and approaches. However, very limited research has been done on the evolution of world's fairs, especially in the field of architecture. The study of architectural developments in the history of world's fairs allows the formulation of paradigm shifts in different periods. In this regard, the present study in a qualitative format, Analytically-explanatory method and with library studies, tries to provide a clear path of architectural developments of world's fairs by examining the participating pavilions and also explaining the historical periods of architecture in this event. The results show that the architecture of the pavilions, with regard to similar features, illuminates special historical periods that are appropriate to their content; In the present study, they have been analyzed, reviewed and organized. Despite the many differences and variations in the presentation of the pavilions and the various purposes of the fairs, a coherent content can be provided to define each specific period in the architecture of this event. World's fairs in the course of the architectural developments of their pavilions, have wide and varied aspects and different approaches, but an attempt has been made to present a specific trend in each of its explanatory periods, in general. The content of each of these periods depended on the circumstances of the world community, as well as the general programs and strategies considered in the world's fairs. Four historical periods have dominated the approaches and strategies of architectural design of the World's fair, Which include the following: 1. Scientific and technical innovations in construction in pavilions (1889-1851), 2. The combination of industry and art and the use of emerging styles and various historical references in the design of pavilions (1939-1893), 3. Utilizing the latest structural achievements, new building materials and structures to solve global problems (1970-1958) and 4. Pursuing sustainable architectural approaches (1992-1995).