جستجوی مقالات مرتبط با کلیدواژه "هستی شناسی" در نشریات گروه "هنر و معماری"

What makes a new ontology essential for today's theatre is the need for fundamental change in all aspects of this phenomenon. To respond to this need, side reforms do not help preserve theatre's status as a liberating art. This new ontology, addressed here as divergent theatre ontology, attempts to provide a new abstract intellectual framework for this issue before making any differences. To form such an ontology, mathematics can be used. In this method, mathematics can be used as an ideology framework. Considering that mathematical variables can be transferred from the field of symbology to the field of semantics, by turning into macro-theatre situations, each of the mathematical situations, allows the possibility to propose new hypotheses for theater by using mathematical theories.  This research aims to primarily present a specific form of an ontology of today's theatre as convergent theatre and to additionally express the new form using the mathematics of divergent theatre ontology and ultimately showing that any liberating aspect in theatre requires an infraction of the rules of convergent theatre and achieving some kind of divergence in theatre.

An important part of the ontology of Iranian painting goes back to its foundations and mythological concepts. Ferdowsi's Shahnameh is one of the most important texts, which is full of mysteries from the perspective of imagery and visual aspects of poetry. mythological concepts are one of the elements that create existence in these images. In this article, the authors specifically analyze the ontology and match the symbols; In mythology as well as in the image of Kyomarth's court from the Shahnameh of Tahmasbi, with the approach of Islamic wisdom and mysticism, with the aim of discovering the factors that create existence in this image and examining the concepts and symbols of these elements of existence; And they are trying to answer the questions, firstly, what is the relationship between Iranian and mythological aesthetics and Islamic ontology with painting? Secondly, what is the meaningful relationship between the symbolic elements and the existence of this painting? The present article has been compiled using the analytical-comparative method on the map of Kyomarth Court by collecting documents and analyzing the map. The findings show that the artist visually and symbolically used myths and features of nature as well as Islamic wisdom and mysticism in order to conceptualize the story and give existence to the painting, and the artist made use of the Shahnameh and the deep concepts of Iranian wisdom and Islamic literature and mysticism. That period has given a symbolic effect to existence in painting by projecting the elements of existence

An important part of the ontology of Persian painting goes back to its mythological themes. Among these, Ferdowsi's Shahnameh is one of the most important texts and literature that is full of mystery from the point of imagination view and visual aspects of poetry. In Ferdowsi's exaggerations, first of all, the issue of imagination is seen in the strongest way, and for this reason, its artistic aspect is tangible. Among the myths in Shahnameh, this article deals with the myth of nature. It is worth mentioning that the most obvious example of the myth of nature is the existence of the four main elements of water, fire, wind and soil. These elements have a unique position and a transcendental and symbolic identity. The concept of "existence" or being is a mental thing, obvious and opposite to the concept of non-existence. Existence; is a truth that always comes true and in which life flows. Ontology is the science of existence because it exists. In this field, the nature of objects, because they are substance, is investigated regardless of the phenomena. Ontology deals with the nature and characteristics of the determined and definite existence and structure of reality, which plays an important role in the analysis of works, including works of art. Iranian sages and philosophers had a special view on existence and ontology. Mulla Sadra believes that existence in art is formed from secret and is revealed from within. According to him, the world of art is God and the current divine creation is considered artistic. God is absolute and creates from nothing, and human being, who is the work of God, is from nothing relative and creates a relative being. Mulla Sadra has a completely artistic and aesthetic view of the world of creation. He knows all these worlds on the one hand, face and image, and on the other hand, he knows the word and the book. In fact, it is the speech and writing of God. Regarding beauty and art, he believes that instead of the ontology of art and beauty, we should focus on their ontology. Art has themes that need to be considered. These themes relate to the ontology of art and are not subject to the acceptance of a particular theory of art. In fact, the association of Iranian culture with wisdom and books causes poetry, music and painting to become religious; that is, to spread his beliefs about Islamic culture and wisdom in art. Persian poetry is understandable music, when music becomes poetry, poetry is created in the artist's mind and then becomes sounds, fictional poetry is processed, but when imagination becomes objectivity, it becomes a painting, in fact, painting is the same as illustrated poetry.  There is a special relationship between Iranian art and poetry, both based on Iranian wisdom. Iranian painting is an art that has been influenced by literature more than other arts, especially Ferdowsi's Shahnameh. From mythology; the four elements of nature in Shahnameh have symbolic and symbolic features in the mythical world that the creation of the world begins with the emergence of these elements of existence. By rotating themselves, these four elements preserve the system of nature and the essence of creation, and with their mythological and symbolic concepts, create the existence of poetry and its affected works, including Persian painting. Aware of the sacred and life-giving background of these elements in Iranian culture and civilization, Ferdowsi has given these elements a transcendental and symbolic identity. In his masterpiece, these elements are not just one substance, but all have an identity with a soul and an authority beyond the algebra of nature that help the hero in various stages of his life. They rush to their aid and protect them from evil agents. One of the best and most superior examples of Shahnameh during the history of Persian painting, a great masterpiece; is Tahmabesi Shahnameh. The Persian painter is a creative painter who has avoided mere imitation of the manifestations of nature and has presented his paintings in an allegorical way in a heavenly and transcendental atmosphere. In fact, the way of existence of these works is different from the way of existence of real lords, and their existential foundation is not only in pure consciousness, but they are derived from imagination and the world of allegory. The present study is one of the four elements of existence in nature; the transcendent wisdom has dealt with the two elements of wind and soil, which have more complex symbolism, visually and aesthetically, as well as analyzing and applying their symbolic meanings influenced by the principles of Islamic mysticism. Wind; It is one of the elements of existence in nature and the air in its active and violent aspects, and because of the connection between the creator's breath and exhalation, it has been considered as one of the main elements. Wind is the most delicate and imperceptible element of the four elements; it is the only invisible element that has great power on which the life of all beings in the universe depends. The wind is the most intense and at the same time the most invisible element of nature. In air painting, like a breeze, it is a refreshing manifestation of an imaginary and mythical world in spring weather. The air is the same as the wind, the most obvious manifestation of which is the painting of the same element of the cloud. Cloud in Iranian paintings is majestic, beautiful, fluid, dynamic and circulating, and is a sign of fertility and growth and an allegory of occult relief. In Iranian painting, clouds are usually innovative and unnatural in terms of visual aesthetics and are seen with a twisted and wavy state. Among the four elements, soil is the most immobile and effortless element. The soil is dry, cold and dense, passive and heavy. It is a symbol of fertility. The earth is a symbol of maternal duties. Gives life and takes it back. The earth is the place where plants grow. The Iranian painter inspires space on a two-dimensional surface without a linear perspective. He depicts a wide horizon with colorful flowers, plants and shrubs that have grown all over the earth, creating an imaginary and legendary atmosphere. In some mythological paintings, the mountain is also the abode of dragons. They live in valleys and mountain crevices or caves. Sometimes it is represented in light purple or blue to imagine the atmospheric perspective in the background. The purpose of this study is to discover the existential factors in the drawings of this Shahnameh and to study the concepts and symbols of these elements of existence in the studied drawings. The article's main question is that firstly, what is the relationship between Iranian and mythological aesthetics and ontology from Mulla Sadra's point of view and painting? Secondly, what is the meaningful relationship between the mythological elements of wind and soil with the ontologies of the Shahnameh? The present article is compiled by comparative-analytical method on pictures from Tahmasbi's Shahnameh by collecting materials in a library and analyzing the pictures. The findings indicate that, visually and symbolically, in these paintings, mythology and characteristics of nature as well as Islamic wisdom and mysticism have been used in order to conceptualize the story and give existence to the paintings, and the painter using this Shahnameh And also the deep concepts of Iranian wisdom and Islamic literature and mysticism of that period have given a symbolic effect to existence in painting by projecting the elements of existence.

The paradigm is used in philosophical and conceptual assumptions to accurately identify research positions, which defines a set of researcher's worldviews and beliefs and is consistent with meanings such as cultural thought pattern and framework. The importance of the paradigm in research is like a logical pillar that contains the research framework and supports the intellectual dimensions and design of the researcher's research to the end of the road. This research will analyze the main pillars of the paradigm in four dimensions: epistemology, ontology, methodology and originality, while similar studies use the three dimensions of the paradigm pillars. they do, , While similar studies use the three dimensions of the pillars of the paradigm, also in the subset of the main positions to the types of paradigms, which are: positivism, post-positivism, critical, interpretive. , Feminism, Post modern Chaos Theory, Pragmatism. This paper tries to introduce the paradigms in various qualitative and quantitative researches, to generalize the term paradigm in the field of art, and also to explain the paradigms that are most used in the field of art and have the best results. This research is a qualitative research in which the research work is applied-theoretical and its research method is thematic analysis.This paper tries to generalize the word paradigm about art as well. Art is an integral element of human existence that steps on the path of exaltation of human existence. It is a reflection in the imagination of the artist that leads to the creation of beauty with the power of knowledge. Art is a report and translation of the artist's soul and an invitation to happiness. In fact, it is pleasure and salvation that is objectified and is a kind of intuition of God in the emergence of beauty, so the paradigm used in art in addition to conventional paradigms in other qualitative research And a little, it must also dominate the artistic, psychological and metaphysical aspects. Also, data collection has been done by documentary method. The results of this research are the birth of a new paradigm about art and also the introduction of a short and practical model in various researches.

Home, an environment in which human lives, is tied up to all aspects of his life. However, over the past few decades, it has turned into a lifeless cage and no longer evokes the connotation of home for its inhabitants. For this reason, recognizing the physical components contributing to its meaning as a place can be of great help to create meaningful places for humans in the future.

This article aims to explore the meaning of home and identify its physical components using the phenomenological approach and it hopes that the application of its concepts to today’s homes can improve their quality.

This study employed a qualitative approach and Grounded Theory method. Data were collected through three methods. To this purpose, first, based on library documents, the concepts, theories related to the meaning of place in the phenomenology and dimensions of human existence were examined. To explain the meaningful physical components of the home, the obtained data were analyzed using the theoretical framework of ontological phenomenology. Data were analyzed using MAXQDA 20 software, then open, axial, and selective coding was done and transformed into concepts, categories, and then components. Based on the interviews, 197 codes were extracted. The interviewees were conducted with three groups and the theoretical saturation of the data occurred after the interview with a total of 35 participants.

The findings suggest there are five physical components including space, yard, decoration, lighting, and furniture through which the meaning of the home has been crossed, each of which implies connotations. According to the existential basis of this study, the meaning of home for people is established when it is beyond the physical dimension and represents his being through motion, time, God, heaven, and Earth and it includes various meanings that are rooted in his being.

Aesthetics is thought to be one of the most basic spheres of philosophy traditionally, and most of the great philosophers study it and write about it. But some of them have transcended aesthetics beyond its usual borders and have made it the core of the philosophy. In their view aesthetics, experience or act is one of the aspects of human being-in-the-world. They see aesthetics as an ontology, and try to treat it and artworks as ontological issues. German romantics, Nietzsche, Kierkegaard, are of the most important members of these philosophers. Works of Mikhail Bakhtin, Russian philosopher, and literary theorist, show that we can classify him among these philosophers. He has always been interested in aesthetic issues, both in his youth which he focused on existentialist issues, and in the later phase of his life which he focused on literary theory. In both of these phases, he also deals with ontological issues. He has almost always looked at ontological issues from an aesthetic point of view. Why? Is this a coincidence? If no, what are his reasons for this choice? Why does Bakhtin care so much about aesthetics? And how can he treat ontological issues aesthetically? In this article, we want to answer these questions. To reach this goal, we begin with his anthropology and show that in his view human lives in the world in a concrete condition. He explains this condition whit a physical term: 'chronotope', which means a matrix of place and time. Moreover, he used another important concept which borrowed from the law, 'non-alibi'. This concept in Bakhtins's thought means human does not have any cause or alibi for not-being-in-the-world. Bakhtin adds more features to them, one of these features is ‘eventness’ which means human never is ‘to-be’ rather always is ‘yet-to-be’ which means the human never finish before death. This is an annoying situation for humans. It is almost like the ‘Angst’ in Existentialist philosophies. His difference with them is that he examines this condition aesthetically. Moreover, for him or her person is very important. So he translates human concrete condition into author and hero relation. Other people can compose a hero and consummate him or her, but he can also, communicate to him or her and make him or her 'unfinished'. If another person consummate hero, he or she will get out of non-alibi status, which means he or she is not alive and real human anymore. If other people communicate with him or her, he or she will stay in non-alibi status, which is annoying for him or her. It is a conflict. Bakhtin try to solve it aesthetically. And in this article, we try to explain this try. To reach this goal, we use another Bakhtinian concept: Carnival. Bakhtin thinks medieval carnivals were some phenomena between life and art. Human in the carnival is never consummated but at the same time is free from any angst, because he has an alibi. In this article, we will show how Bakhtin can reach this conclusion.

Humans for being, as Heidegger’s interpretation of the dwelling, should take action and build, and with this act (structure), he depicts the world in the form of the place and makes it a structure. Dwelling between the heavens and the earth is "settle" in "between diverse", meaning is the objectivity of the public status of as of human structure. Based on Heidegger’s thoughts, human existence can be significant when humans are able to develop the world in the form of real quality (quadrature) in the place, and to take the environment in such a situation that has gained real dwelling. Architecture is the expression of human intentions of existence in this world. Christian Norberg -Schulz believes that in order to reveal the world of work, a harmonious structure is created between the architectural language of the architectural tools and the Speech language of the habitat of existence. In his view, if we define architectural tools as "language of architecture", we mean something beyond superficial allegories. Speech language has a common underlying structure, which, according to Heidegger, is "the habitation of being." This habitat has the capacity to express various facets of the world's life. The world's life must be implemented and realized in the language of architecture. Typology, morphology and topology, together constitute the architectural language. This article is in the realm of Heidegger phenomenological viewpoints (from the ontological perspective). This view Provides a deeper insight into the truth of the place. He believes that there is a human being in place, and if we devest the place, it means we've got existence from him. In Heidegger's view, phenomenology is a way of questioning and thinking about the existence and everything that is in front of our eyes. “In phenomenology, neither man is abstractly examined, nor the world, Rather, the main focus is on Men – in – the world. Being – in – the - world The central feature of human existence is the confirmation of the fact that everything that exists is environmental”. This research viewpoint is two methodologically, qualitative and interpretative-historical domains. The qualitative approach is rooted in interpretive and critical paradigms. Qualitative researchers believe that the world has no separate being from the individual and their main purpose is to understand the meaning that people give to their daily lives. The field of interpretation has been in the “constructivist” paradigm Based on interpretation and understanding. Heidegger saw understanding as an aspect of the ontological context that has a historical and ultrahistorical origin. This origin, as a pre-understanding, shapes any understanding we have today. The main subject of this study is the possibility of achieving the authentic truth of place and being in the form of the world discovering in a Hawraman Takht residential architecture. It seems that Hawraman Takht is a holy place that takes its meaning from heaven and places it on the earth and by making and creating a place, makes us ponder about the world of the people of Hawraman Takht (earth, heavens, mortals and divinities). It is a special form of the image of the world, presenting an image of the environment in which life "takes place" not in an abstract but in a poetic and conceivable configuration. The findings of this research can provide a field of transformation in today's structures and the preparation of the truth of location in the direction of actual and the creation of meaning.

Today, due to the lack of the effective use of the relationship between human and place in the creation of space, man - made environments have no meaning and identity. However the first priority of designers is to recognise and understand the environment, the relationship of human and place, and it,s application to design. Because of its ability to percept the relationship between human, environment, space and place; Phenomenology can help designers. In this paper, descriptive - analytic research method has been used. There are two approaches of ontology and epistemology in the phenomenology of place. Ontological approach has largely a spatial viewpoint and searches the meaning of the place which has been defined as the spirit of place in the architecture or Life - World. The spirit of place is created by the relationship between things and gives a special sense or character to the environment and is mostly in the field of concrete dimensions. But the epistemological approach has mostly a humanistic point of view to the subject and wants to find what the place is or Lived experience. By the study of the experience structure, they suppose that the sense of place is effective for the perception of the environment. The sense of place needs directly human and human experience to exist. In addition, it is formed as a continuous cycle in which firstly, place identity (to be recognized), then belonging to the place (desired characteristics) and finally, attachment to the place (to be attached) are formed. The sense of place involves a route from the objective field to the subjective Which controls the harder it is for designers. The results of the research indicate that the use of a phenomenological approach in the architecture necessitates the use of both phenomenological approaches to the place, namely acceptance of the origin of "life-world" with social and cultural domain as well as the "lived experience" of people. In this route, formation of a place sense starts with the perception of the life-world characters (spirit of place) and ends with the attachment to place. Spirit of place exists wherever, and is formed by a combination of "space", "order" and "time", so the spirit of place cannot be created by the design. But it is both required and possible to use the spirit of place as a guide to design process in the architecture. However, regarding the use of the sense of place in the architectural design; since the sense of place results from the interaction between the human and the built environment and it is added to the architecture over time, then it cannot be established at the design stage, but with the participation of stakeholders and users in the process of design and architecture based on their beliefs and values; the capacity to create a sense of place can be increased. In addition to we can use design process evaluating by the sense of place for measuring the effectness of the design.

A review of the history of architectural conservation implies that ontological attitude of scholars and theorists in the field of historic places› conservation is one of the most important principles of conservation theories. Those features of historic places which are considered as more significant at the moment of recognition are often turned into an issue for conservation. However, there is not a clear understanding of such an issue, especially its theoretical basics, in Iran›s today community.
Accordingly, this paper explores the ontology of historic places by relying on Transcendental Wisdom ascribed to Sadr al-Moto›alehin Shirazi and based on the doctorine of «Principality of the Existence» which offers an explication of the existence of material beings. In this line, the mentioned relations between «material and form», «form and meaning» and «extrinsic and intrinsic aspects of things» in the system of Transcendental Wisdom and also the theory of Substantial Motion and its explanation apropos the fluid existence of material beings and finally transcendentalism›s conceptualization of the relation between «existent» and «being» in the world›s system are the main views taken from such a philosophy. In all, since this study is in line with Sadraei›s philosophy it enjoys analytical-philosophical nature and employs logical reasoning and analogical methodology.
Respectively, the historic place is scrutinized from three aspects. The first aspect refers to such a place «as a single measurable totality» whereas the other two aspects regard it «as a changeable totality» and «as an element within the contextual measures».
With respect to the first aspect, the existence of the historic place is considered as a measurable element enjoying several levels of emergence. These levels constitute the triple aspects of meaning, form (and its extrinsic determinations) and material. Also, corresponding to each aspect, the historic place gains some measures. Consequently, regarding the measures of any historic place, we can talk about the measures referring to meaning, form (intrinsic and extrinsic measures) and material.
Moreover, among these levels, each level is more significant than the lower levels representing the existence of the historic place. In other words, the existence of the historic place is manifested in its intrinsic form and meaning more than anything else and the material as well as the extrinsic determinations of the form are simply the manifestations or, in a word, the context for the emergence of the historic place›s existence. However, a historic place is finally a single entity which has existential integrity and the aforementioned levels are not separate from each other in reality.
Then, the temporality and mixing of the historic place›s existence with change is considered. In this respect, relying on the theory of Substantial Motion, the historic place is regarded as a «changeable totality» and evolving issue mingled with time. In this respect, the historic place is a fluid entity, not an object, which is a permanent becoming; it is a gradually-occurring matter and is like an entity scattered in time whose past and future constitute different parts of a single entity. Thus, in reality, we cannot talk about persistence and consistency in the existence of the historic place and just the issue of continuity in its existence can be raised. This continuity is possible due to the becoming on the orbit of measures referring to its particular existence. But the question that other than the measures of the historic place in the mentioned triple aspects what other measures referring to its particular existence can be found paves the way for paying attention to another aspect of its existence.In this aspect, the historic place is considered not as a single totality but as a part of its surrounding world which can be the world in the broadest scope. It is argued that simply recognizing the elements within the existence of the historic place cannot provide full knowledge of it and it is necessary to consider its inevitable relation to the environment or more general context. Accordingly, the historic place as an entity becomes the manifestation of «being» and its validity depends on such a manifestation. In this aspect, the historic place becomes the manifestation (relatively speaking) of the names and attributes of the being and the regularities originated from it and, consequently, it is located under the existential systems of the world and its manifestations in the natural as well as the cultural world. These systems or orders have some manifestations in the nature such as a number of laws referring to qualitative and quantitative aspects of the place (meaning, form and material). In this respect, the cultural measures and orders receive their validity via corresponding to existential systems and thus they can be used as a criterion for the existence of the historic place.
In general, from the perspective of this study, the historic place is first and foremost an «integrated totality and objective measurable entity which changes permanently» while its particular measures (in the triple levels of meaning, form and material) are located under the existential systems manifested in the natural as well as cultural rules. It should also be considered that the validity of the historic place›s existence depends on its capacity to manifest the existential systems. Thus, the constant and necessary matter in it is the very orders or existential measures manifested in it which can be called «the aspect of being» or «Allah›s aspect» in a word.

One of the issues in theory field of architecture which has been considered in recent decades is ontology and its branches. The changeability and the domain of the meaning in architectural works are some of the most important issues which are considered in this field. It is related to some subjects such as the role of the creativeness of the architectural work, audience of the architectural work and the process of the perception for receiving the work's meaning. According to some of the latest theories in this field such as Deconstruction and Neopragmatism. All of the perceptions of audiences are affected by their prejudices and their prejudices are influenced by some external subjects such as history, meanwhile these external subjects are changing constantly. So, it is not possible to believe in a certain domain for architectural works. Due to this viewpoint, all of the objects should be presented in adaptability with this changeable process and so in designing the architectural works, we should use geometries which can be adapted with changeability and relativity in perception. On the other hand, some of the other theories such as functional theory and the propositional theory believe in a certain domain for meaning in architectural works. For example, according to functional theory, the meaning of an architectural work is referred to its function and even if its function can be changeable during the time, but because it is not possible to define each function for a certain architectural work, the domain of its meaning is a definable domain. So, the major problem of this article is derived the relationship between architecture and ontology especially contemporary ontology. Due to this problem, there are some important questions in the theory field of architecture such as if we can assume a final meaning for an architectural work or not? Different steps for specifying and analyzing this problem consists of these ones: In the first stage we will define ontology and its features. In the second stage we will define the identity of meaning in architectural works. For accessing to this aim, we refer to some of the most important theorists in this field such as Foucault, Fish and Rorty. Meanwhile, we try to evaluate the theories which are cited in this stage. In the third stage, we will explain the Islamic view point about the major problem of this article. Then, according to Islamic teachings, the identity of meaning in architectural works will be specified. On the base of the findings of this stage as the last stage, it is concluded that the domain of meaning in architectural works is a certain and definable domain but the audience's perception about this meaning can be changeable which this variability is referred to their different prejudices and experiences. In this article for accessing to the targets that are assumed, the authors have utilized qualitative content analysis research in the first gathering step of data. Moreover the authors have used logical- argumentative research in analysis step and judgment of data.

Islamic city has a specific space from the viewpoint of the nature and structure. Since early twentieth century, it has been noticed by researchers and it has been received a separate topic among the urban developers and researchers. So far, broad researches have been conducted about an Islamic city by Muslim and non-Muslim thinkers and they have considered certain regulations and standards in accordance with the Islamic principles and values different from other cities. It can be learned from the various verses of holy Qur-an and Islamic traditions, deep meaning and concepts about the nature of Islamic city. So, the purpose of this article is to elaborate the quiddity and ontology of the Islamic city through putting forth this question: What are the quiddity(understanding the innate dimensions) and ontology(understanding the being aspects) dimensions of Islamic city from the perspective of Islamic texts (verses and traditions)? This article has been developed in the methodology of review-analysis and with the help of field and library tools and using the Islamic texts. The result of the research is that with regard to basic concepts of Islam such as unity, justice, security, privacy, humiliation, naturalism and lack of following the strangers’ models, it is possible to divide the Islamic city from the viewpoint of receiving influence from these concepts into two quiddity and ontology dimensions. The quiddity dimension deals with the study of the identity, attribute and physical dimensions of Islamic city and the ontology dimension, deals with the dimensions of the manifestation of the presence of being elements and individual and collective actions of the Muslims in agreement with the aforementioned principles.

In the area of human science, knowledge always entails parallel paradigms and research has been possible in the frame of paradigms; it is also true of the art. Aesthetic theories have never been unified in nature and never been single paradigmatic. Hermeneutics, however, is now single paradigmatic and art research can be done in a different manner free from the previous and current paradigms. This article introduces the ontological and epistemological aspects of this paradigm.