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

Indian ritual performances, which have continued from the distant past to the present day, are one of the main branches of Indian art and enjoy a worldwide reputation. Considering that there is a holistic view of all human activities in the background of tradition, this research aims to reread the interface between religion and art by referring to Vedic texts. What is borrowed today from holy books like Mahābhārata and Rāmāyaṇa as the text of traditional Indian dramas is actually the retelling of religious myths in the form of narratives that in the past contained sacred concepts. Therefore, it can be said that the art of ritual performances in the world of tradition has been the reconstruction of the same myths and the revival of the same sacred concepts. But what turns such performances and narrations into a ritual act is the soul of the sacrifice, as one of the most significant and key religious concepts in the Vedas; So it can be said that The Vedic religion is instructions about how to perform the act of sacrifice. The word sacrifice in the Sanskrit language is equivalent to yajña; Yajña has the same root as Yashan, Yashtand Yasna in the Avesta language, and it is the same as the word “ Jashne “ in modern Persian as well as Jashn in Gujarati. Yesna is equal to Yazišn and sometimes êzšn in Pahlavi. The root of these words, Yaz and Yas, means to worship through sacrifice and prayers performed in front of the fire. In the book Sir Akbar Upaniśad, Darashkoh considered the root of the word Yajña to be the same as Yaj, which means sacrifice and sacrificer, and Yajña (jajn/ yajn) means to sacrifice for others.Initially, sacrifices were material, involving humans, animals, and plants. However, with the emergence of the Upaniśads, these sacrifices transformed from physical offerings to spiritual ones, as seekers aimed to draw closer to God by sacrificing their souls. The junction of the act of sacrifice and art in its ritual meaning lies right at this point.This article attempts to expand the concept of sacrifice from the perspective of Vedic religion, to read it from the place of artistic experience, especially traditional performances. Therefore, first, the position of the sacrifice in the Vedic religion and the connection between it and the festival is described, and then the evolution of the concept of rase in the Indian ritual performance is examined. An attempt is made to reread the semantic and conceptual similarities between the two. This article aims to answer the question of the relationship between the show and the concept of rase as one of the Indian aesthetic principles and the act of sacrifice. What are the commonalities between how the participant seeks pleasure in the show and the perception of performing a religious act, especially the sacrifice, for the seeker?The reason for choosing performance art from among the types of art is that according to the ancient scriptures, ritual performance is the main place of appearance of rase; The principle that forms the basis of the formation of all kinds of art in traditional Indian thought. The process of creating and perceiving an artwork based on Hindu thought has two basic principles: First, sādṛśya, which means the harmony of the content and form of the artwork with the eternal forms, and the purpose of the artwork is defined in sādṛśya, which means true similarity and no lack or caste. In other words, sādṛśya explains the process of creating a work of art based on ruling principles. The second principle is called rase, which means taste and extract, but in the beautiful thing, it focuses on and discusses the process of aesthetic impact and emotions resulting from seeing the work of art in the mind and spirit of the observer. The importance of rase is based on ancient Indian texts. The purpose of creating and performing a ritual performance is to generate rase in the participant (observer).The important point is that there is a correspondence between man and the creator (the principle of Atman/Brahman) in Indian thought. This correspondence can also be seen between man and the altar. In the Indian performance, there is the same correspondence between the venue of the show, the body of the actor, and the body of the audience. It is as if there is a correspondence between the temple and man.The necessity of this correspondence between the body and the temple is that any prayer that takes place outside should also occur inside. The place of this event is the heart. In fact, in Vedic thought, external perceptible rituals are the only means of support for reflection and observation, which make it possible to know reasonable things through perceptible things. Therefore, the act of sacrifice is not only an act on the outside, but it can be considered an inner and mental act by nature. Concluding from what has been said, it can be concluded that the act of sacrifice establishes a link between the material and spiritual worlds. On the one hand, the subject of the sacrifice is transferred from the worldly (impure) realm or position to the sacred realm or position, and on the other hand, a connection is established between the human body and the spiritual world through the heart. This is the same connection between the world of laukika (in the sense of tangible knowledge) and the world of alaukika (The metaphysical realm / the intelligible realm), which is recreated differently in the art of drama. In Indian thought, rase provides the possibility of connecting the world of Leo with the world of alaukika, and utilizing that connection, established at the beginning of the world according to mythological traditions and separated due to some reasons, is re-established. In other words, it expands from a meaning in the material world to a meaning in the immaterial and divine world.Among other findings of this research, is that the act of sacrifice, as the main Vedic teaching, is also reflected in the art of drama. This research tried to categorize this reflection in eighteen cases. Also, the art of Indian performance in a ritual sense is different from what is meant by this word today, and like other ritual activities, it has an ultimate goal, which is the action to reach Mokśa (freedom) under the law of Dharma. Therefore, the performance of Indian religion is a kind of religious act rooted in the importance and function of the sacrifice in the Vedic religion, and rather than looking for aesthetic achievements, it seeks to create a feeling in the participant. The perception of rase is only achieved if, in addition to knowing the principles of execution of the victim, he believed in the principles governing it and watched it with the presence of his heart. The presence of a heart is rooted in the belief in ancient Vedic wisdom.

The existing structures in society are interrelated. Ritual art is the objective manifestation of culture, religious ideologies and popular beliefs of the social activist. Takaya architecture is a mirror of the Shiite artist's traditions of thought, speech and action in relation to "time and place". Ritual architecture is an art mixed with culture, hence, the art of Takaya is a native architecture and the manifestation of history, race, art, climate, Shiite religion, tradition, identity and culture of the people of Mazandaran. Analyzing the criteria of culture and the importance of ritual art, in addition to expressing the values ​​of Takaya architecture, can provide design guidelines for designers to create a higher quality space. Using the richness of ecology and cultural geography of Mazandaran, the present study has dealt with the interaction of ritual culture and art to narrate the sufferings of Imam Hussein (PBUH), his family, his companions and the mourning rituals of Ashura in the Takaya architecture. This research is of qualitative type which has been accomplished by the means of a historical-interpretive method and information is gathered in the form of documents and field analysis; moreover descriptive-analytical and comparative methods have been used in data analysis. The statistical population of the study is a number of nine participants from Amol city. The results show that the criteria of culture (power structure, social status, kinship edifice, endowment, vows, age and gender of the user of space) and the local rituals of the people of Mazandaran (Divan, paddy field, Zan Shahi, Barf Chal, Vavarun, Shilan) and artistic ceremonies that include ritual painting (Saqanfar paintings), ritual architecture (Takaya) and ritual representation (Taziyeh) have had a reciprocal effect on reviving, perpetuating, adapting and promoting each other. Culture has had a great impact on architecture and in return, architecture has been one of the influential factors on culture.

1. Recognition of ritual art and cultural standards in the native architecture of Takaya Mazandaran. 2. Investigation of the effect of ritual culture and art on the arrangement of elements of Takaya ritual architecture.

Research questions: 

1. What are the effective criteria of culture on the architecture of Takaya Mazandaran? 2. What is the relationship between ritual culture and architecture, ceremonial representation and ritual painting?

One of the terms that is currently used for art quiddity is the term “aesthetics”. Although this term has a new meaning in Western philosophy with the advent of the German philosopher Baumgarten and then Immanuel Kant, but nowadays it is used for different kinds of art, including the arts derived from the tradition, and this usage is considered controversial by Eastern philosophers. In this paper, we try to explain why using the term “Indian aesthetics” is not recommended for the remnants of this civilization by reviewing different aspects of traditional Indian art, and showing that such an usage causes some special aspects of Hinduism, that were the motivation to produce artworks, remain unknown. To achieve such goal, we try to list particular features of Indian art such as being ritual and then classify its conflict with the concept of aesthetics.