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

Ziapour may be influenced by Art's Sake concept, Clive Bell's meaningful form, or even André Lhote's thoughts. However, he attempts to provide solutions for achieving grace in painting by relying on the fundamentals of the visual arts and integrating other media into the art medium. Upon his return to Iran, amidst an increase in social freedoms, he began providing written sources on modern art. He believed modern art was the only proper art form and introduced this concept through his publications (Pakbaz, 2008: 889). Despite his publications, Ziapour's theories played a significant role in establishing the foundations of modern Iranian art. In 1943, he established the Academy of Fine Arts for Boys and Girls, where artists such as Tanavoli, Zenderoudi, Arabshahi, and Pilaram were trained. These artists went on to become the standard bearers of modern Iranian painting. Jalil Ziapour is a significant figure in contemporary Iranian art due to his contributions to theorizing and explaining modern art principles through articles and books and his teaching in educational institutions. In 1949, he presented his artistic statement in Kavir magazine under the label "perfect school." He explained that the foundation of his statement came from the heart of the community, and he did not intend to adhere to orders and theories. However, his statement seems paradoxical because he believes society imposes themes on painters. Nevertheless, he also considers the negation of themes and reliance on aesthetics as a request from society. Therefore, the question arises about the mutual role of artists and society according to Jalil Ziapour's "perfect school" statement and how to resolve this paradox.

The objective of the present qualitative study is fundamental, and descriptive data were collected using content analysis. The statement "perfect school" is analyzed as a case study considered among specific and limited cases to thoroughly comprehend every aspect that can disclose the case studied (Creswell, 2012, p. 101). With an inductive approach, the content analysis method enables the researcher to investigate the content of the selected data objectively and systematically to measure the variables (Rogerdi, 2005: 314). Additionally, it offers a method for reading the text, a correct comprehension of material that appears irrelevant, and a method for qualitative information analysis (Boyatzis, 1998: 4). Therefore, the interactive relationship between the artist and society, as well as the artist's position regarding the function of people in art, were extracted from the present statement and subsequently analyzed. Then, the perspectives of Roger Bastide, Plekhanov, and Collingwood were utilized to resolve the existing paradox.Artist and society's roles in Ziapour's painting and manifesto: Based on the manifesto of the perfect school, Ziapour mentions the role of society, people, and life in art in four cases:a) Themeism in painting is influenced by society and people:In his statement, he discussed how art was liberated from religious themes with the invention of writing (Rafierad and Makinejad, 2022: 30). He believed that even though a painter may try to avoid public themes, it would be impossible because their environment and society influence them. It means that society does not allow the artist to remove the theme from their painting altogether. Instead, by emphasizing their individuality, the painter reflects the specialized aesthetics of the artwork.b) Negation of the representation of life scenes in a painting by Perfect School:"If the purpose of painting in its initial stage is to depict various scenes of life, i.e., to create themes, then this is writing," he says (ibid., p. 3). Therefore, he believes that paintings should not depict scenes from everyday life. Color, design, form, and composition are the only tools a painter can use to attain the essence of painting.c) The perfect school makes artists and people understand the reality of the aesthetic concept of painting:Ziapour states in paragraph (c) of the conclusion that since the writing of the Manifesto, the artist and the people have comprehended their mission to remove natural and near-natural images from paintings. In the future, to learn the beauty of a picture, they will refer directly to the artistic elements and not to the motifs or content of the images. It will be the initial phase in which both the artist and the public realize the actuality of the concept of specialized beauty or specialized aesthetics.d) The perfect school is a requirement of society and the environment:In paragraph (d) of the conclusion, Ziapour argues that this statement does not exist outside of society's requirements and was created within an organization to meet those needs. He states, "No new method is ever created without the need of the environment, and no request can ever be in advance of the request of its time. Because every desire has a cause, the primary cause of each motivated desire exists within the community of desires. Therefore, my theory is not and cannot be outside the present demand" (ibid: 15).

Ziapour's views on Iran's contemporary art are among Iran's most influential cultural and aesthetic philosophy sources. The developments that his publications, articles, and other works have introduced to the history of contemporary art in Iran have significantly impacted the artistic perception and knowledge of society and artists. Ziapour's manifesto, which included innovations such as parasites (mediums other than painting), distant unnatural figures, and the like, was published to establish a solid foundation for painting's aesthetics. On the one hand, this manifesto asserts that thematic painting is influenced by societal demand. In contrast, in the perfect school, the artist negates all themes in the painting and provides the aesthetics of a painting that relies solely on color, line, design, form, and composition, eschewing both natural and unnatural forms. At the same time, this school was established in response to a request from society and the environment and is a response to the requirements of society. These two points of view cannot both be realized simultaneously.Nevertheless, based on the opinions of specific sociologists and art theorists, such as Plekhanov and Collingwood, this paradox can be resolved, as this social influence can be explained by the unique trend of Ziapour's contemporary art. In this way, the artist, with the self-awareness individual that he has created in modern art, negates the theme, causing the society that forced the artist to accept the theme in the painting to look at the actual values of the painting and the limits of the medium of painting to be explained to them. It corresponds to the obligation that Collingwood deems art to have in preventing the disintegration of consciousness in society. However, there will still be many issues, and the answers to each can pave the way for the analysis of the history of contemporary Iranian art and contribute to the expansion of the fundamental concept of Iranian.

The relationship and interaction between Islamic art and mysticism and Sufism are debated by researchers in the field over the past few years. While traditionalists see mystical and nativist meanings behind various forms and types of Islamic art and regard the relationship as something substantive and metaphysical, critics reject it due to inattention to historical facts, and some have even rejected any connection between Islamic art and mysticism. Due to the necessity of taking historical and social approaches to the matter, and the existence of various pieces of evidence indicating the relationship between Islamic art and its artists and Sufism, both viewpoints need revision. In this regard, the present study aimed to look at the causes and motives prompting Iranian artists to be interested in Sufism and create works related to mysticism by considering the artists as tangible components and the main sources of artistic creation (compared to merely metaphysical factors). Therefore, taking basic and qualitative research methodologies, the question was analyzed using historical, descriptive, and analytical methods, and the data were analyzed inductively. The findings showed that the inclination of some Iranian artists to mysticism and Sufism was evident in the crossing between Sharia and Tariqa, and the natural art-mysticism intersection, some Islamic clergymen’s sharia-based prohibitions against some art types, mystics’ tendency to cultivate art, the inspiration of mystical teachings in the creation of artworks, the influence of Sufi rulers and wealthy groups in creating artworks with mystical themes, and the effect of political and social turbulences like wars on making people turn to the followers of Tariqa were six major motives prompting Iranian artists to welcome mystical and Sufist ideas.

The purpose of this article is to examine the characteristic of Mulla Sadra's perfection of self in Islamic art and what is controversial about it. Art means re-creating or re-presenting an object or meaning in its optimal way; An artist is a phenomenon bringer, creator and re-creator; And we really know that everything that is the subject of this creation is a truth that has a desirable perfection, because it represents divine love. In fact, art is the realization of the existence level of a person and an artist is someone who, with an aesthetic attitude, gives a manifestation of his existence level in the form of a work of art. Perfection of the soul is an accepted thing from the point of view of religion and philosophy; Mulla Sadra's opinion about art and sensual perfection was that: love for a beautiful face is one of the divine conditions, which has benefits and wisdom. In philosophy, science and practice are considered as factors of self-perfection; But the question is, how do these two complete the soul of the mystical artist and art? In addition, does the characteristic of perfection of the soul continue after the creation of the work of mystical art? This article investigates and examines the issue with a descriptive-analytical method. In the description of this article, with the aim of answering the discussed questions, the key words were first defined as the basis of the existing hypothesis, and the existing hypotheses regarding the application of self-fulfillment features from Mullah Sadra's point of view to the art of the Islamic artist were briefly examined. It has been concluded.

Based on Islamic epistemological foundations, knowledge precedes and influences action. In the context of artistic creation process, this means that the artist’s conception or grasp of beauty will influence the quality of the work of art they create. In the Islamic language, observing and perceiving beauty, or husn, involves looking for states and reflections of perfection in the context of an artistic theme. Observing husn is a requirement for any artistic ideation process within the Islamic perspective to the notion of art. The reason is that ideation is the first stage in creating a work of art. The more an artist is capable of upgrading their level of observation from the sensory to extrasensory aspects, i.e. to the reflections of husn of the subject, the more they will be able to improve their idea and create an art that will reflect real beauty. In a previous research work, purpose-oriented thinking has been identified as an important tool for improving the “husn-observation” skill in an artist. The aim of purpose-oriented thinking is to discover the qualities of perfection of the subject and the purpose meant for it, i.e., aspect of its husn. Therefore, any attempt for designing processes and solutions to engage an artist’s thinking with husn-oriented ideation will necessarily involve a study into how thinking will become purpose-oriented. However, according to Islamic epistemological principles, the intellect (‘aql) is the faculty of discerning what is husn from what is not husn. As a foundational research work, the present study therefore focuses on the intellect in order to contribute to creating the foundational knowledge of how artistic ideation will become husn-oriented. On this pursuit, the study employs principles drawn from the Quran and views of Allameh Tabataba’i and adopts a descriptive-analytical methodology to examine the relationship between the intellect and a purpose- or husn-oriented thinking process. It then argues that husn-oriented ideas will only become possible when thinking takes place along with intellection, or the process of using ‘aql. Here, the role of artistic thinking will be to elaborate the artistic theme and make connections between the artist’s outward and inward observations about the theme. As an outcome, some knew statements of knowledge will be produced. Artistic intellection refers to the act of knowing and adopting criteria of truth and assessing the statements produced through the thinking process based on the intellectual criteria of assessment. This means that any improvements made to an idea towards its husn will involve refining the set of criteria used for assessment, which needs to be carried out in at least three stages of the process. The first stage is before the artist gets engaged in creating art. The second and third stages belong to the the ideation process: one where the artist thinks about “the purpose of creating artwork” and the other where they try to “design the idea structure”. The study finally suggests sets of criteria that can be used for each stage of the process of orienting and improving an idea towards husn.

Any attempt for defining and explaining the pillars of today's art is being in a cycle without beginning and ending ideas that created by the accumulation of intrinsic theories of history along with contemporary sociological theories of art. This difficulty when comes to its peak, the dominant trend of postmodernism, with doubt in all of the great modern aesthetic narratives, opens the way for the appearance of conceptual art as the supremacy of the idea on the artifactuality and plurality of new artistic forms. The forms that, each of which by critique or negation of fundamental concepts such as aesthetic object, aesthetic experience and aesthetic pleasure are autonomism claim.The present paper, with questions about the role of artist, artwork, audience and environment in today's art, leads to the conclusion that, the first, we must search a definition of today's art. The search that ultimately leads us to sociological definitions of art, in which not found theory that can be generalized to the plurality of art forms of today. New definitions of art such as George Dickey's institutional theory or functionalism of Monroe Curtis Beardsley, that one of them reduces the value of an art object to its acceptance in the artworld, and the other reduces it to political, social, psychological and aesthetic function, just they do remind of this point, that today's art still has its own broken foundations from its earlier foundations and has not totally left the realm of aesthetic experiences. Such an open and wide context that, in turn, disregards the difference between truth and narration, continues to use the paradoxical way of using scientific data such as quantum physics and chaos theory to uphold its attitudes and, more than anything else, has employment to spontaneity of the artistic phenomena, by relying on the horizons of the new media and network, which simultaneously speaks of interaction, conflict and understanding between thoughts, it leads to the appearance of an institutional discourse in which an overall framework for presentation and influence of mentioned elements will be provided. This institutional discourse, in a general attitude, firstly is confirmation under the title of postmodernism, and then distinguished in the general title of conceptual art. Conceptual art, allows the artist that before the beginning to create artwork, to ask questions about the quiddity of art. Under the title of Conceptual Art, art work also becomes a process in which nothing is predicted at the beginning or the end. In this cycle, the audience plays the same role that the artist has toward his work. Today's audience, with attending inside the artwork, become a living and continuous interpreter of the artwork. In between, the environment as well, no just conventional places, such as museums and galleries, which considered to be as an inclusive and expanding space that allows the artist to deepen his free association with the place, audience, artwork, and in an artistic expression.

The present study aims to explain the role of ethical content among the artists and general audience in terms of (1) ethics in an artwork; (2) relation of ethical elements with the artist as well as the audience. To this purpose, two questions can be formulated: 1. To what extent do artists pay attention to the role of ethics in the creation of artworks? 2. What effect does the moral component of an artwork have on the perception of the audience? The paper at hand has employed a descriptive-analytical method of research and the data has been gathered through the desk study of library resources as well as field survey (filling out questionnaires). The survey included two groups: (1) artists, art graduates and students at different academic levels from six prominent universities in Tehran and (2) general audience comprising of those with artistic background as well as the general audience studying in various academic levels and disciplines at different universities in Tehran. Three factors were considered in the selection of the general audience: (a) strategies in choosing the artistic style; (b) ethics in the creation of the artwork and (c) ethics and the audience. Using the Variance Formula and F-test, the results obtained included 49/59, 26/191, 81/346 respectively. Based on the statistical results, 2/65 of the first group approved the use of strategies and the choice of artistic style above 50% on average. A comparison of the opinions of the members of the same group showed that the use of the ethics in the creation art work is at 29%; i.e. less than the average level. These numbers indicate that in this group, considering the option of audience and ethics in the creation of works of art by 40.2 is consistent with their views. A comparison of the artists' opinions with respect to items such as their years of artistic activities, shows a difference of ideas among them.  However, the application of strategies and artistic style and ethics in the creation of artworks are different. A comparison of the viewpoints of the second group of participants in the study reveals that there is a relation between the rate of employing ethics in the creation of artworks with the author’s academic level. Ph.D. holders of non-art disciplines were more interested in strategies and styles (8.76) and B.A and B.S. holders were the least interested while those with master’s degree had the least interest in ethical factor (2.31). The analysis of the findings related to the art style and ethics indicates that the general audience expect 79%, 63%, and 83% more than average that artists should use style and the ethics for the creation of artworks and believe these are a part of the intrinsic value of the artwork. The statistic results show that the rate of the ethics employed in the creation of art works is lower than the average. There is a meaningful difference between pro-ethic public audience and artists who think of no limitation for the creation of the artistic work in terms of ethics. Standard deviation is higher with the general audience too. Experimental F, also shows the same opinion on the part of the non-specialist audience. The findings of the study indicate that the content-ethnics is not similar for the artists and audience. In response to the study questions, it seems that the ethical factor for general audience is more important than the artists. However, artists and specialist audience are on the side of creativity and artistic values of the artwork than the ethical issues. The conclusions drawn from the study, reveals that among the artistic community, there is no direct relationship between ethical values and aesthetical values of a piece of artistic work. However, the ethical values can be taken into consideration in theoretical and practical education of the art students to make a balance between ethics and artistic works.

Writing art history based on the introduction of artists in the Safavid era, also the attention to the artist's individuality and his reverence in the books of general history points to the fact that the position of artists of the book designing in particular of painters has changed in comparison with the previous Safavid era. Arnold Hauser of art sociologists believes that the social excellence of the artist occurs when the artist is aware of his intrinsic talent and moves on from a skilled worker who has always tried to imitate his master. He states that artists with social security and economic stability can experience a relatively long-term social status. It seems that painters have always been featured as skilled craftsmen during the history of Islamic art, but according to the history of written art in the Safavid era, it appears that this community as an artist in Golestan Honar and General History Books shown. Based on the written sources of this period, and based on the views of Arnold Hauser, this paper seeks to extract the components that influence the position of painter artists on the basis of which the components prove that: Is the Safavid painters from a person as a skilled craftsman Has he achieved the status of an artist? This article aims to provide a clear and vivid picture of the status of artists( Artists mentioned in their written sources of the history of Safavid art as artists of the book designing) in the Safavid era society. In this regard, the status of the artists in the course is based on Arnold Hauser's sociologist's opinion. This research is based on a historical analytical method of development research and, based on historical sources and library method, concluded that: things that Hauser considers effective in the formation and transformation of an artist is generally not in Details can be adapted to the Safavid community. According to Hauser's indices and their correspondence with the components that Safavid historians have been referring to artists, it can be inferred that both the artists of the book of the Safavid periodicals and the historians were aware that the artist was due to talent And the intrinsic genius that made him distinct, created artwork. It made self-awareness, heresy and freedom of action in the art, and then brought it credibility, respect, fame and wealth to the artist. It can be inferred that the artists of the book of the Safavid period came from the skilled worker to the status of the artist. The history of the Safavid era has always been researched from the perspective of the content and structure of the researchers, but less than this angle. Study of the indicators that affect the social conditions of the artists will lead to a better understanding of the Safavid art and will clarify the dark angles of Iranian art history in relation to artists for future researchers. Additional supplementary information added from this article also adds to the research already done

As photography was invented in the 1830s at the same time with formation of a new style of life in western countries called the modernity , the close relevance between these two is inevitable. In fact, photography as a means of expression is considered as one of the main conveyors of the western modernist culture. On the other hand, one can perceive a delicate relevance between western and eastern modernity. In fact, the formation of the latter was based upon the first. Moreover, with the increasing role of “ material “ as the essence of the universe, the new role of “ human ” as a mortal existence, and the replacement of “ Intuitionism “ with “ Rationalism “ and “ Eschatology “ with “ historiology “ a new worldview for the westerners was created and it subsequently had deep effects on the way through which eastern new societies followed them. As a result, the inherent paradoxes between the old and established tenets of eastern societies and the newly imported western beliefs caused a new discourse in the second Pahlavi regime called the “ Coming Back To Tenet “. Therefore, considering the bilateral connection between western and eastern modernity, to study the procedure of eastern modernity from the perspective of photography seems to be of paramount importance. In Iran, photography had an important effect on the “ Persian Constitutional Revolution “ and after that, during the first and second Pahlavi regimes, it was used for different purposes, specifically in the press and studios. But as one of the main pillars of each modern society is its “ middle class “, and since its formation in Iran took place in the second half of the second Pahlavi regime at the same time with the entry of photography equipment from the west to Iran, and taking into account the fact that the main producers of photos in its both key genres of the time, namely family and artistic photography were the middle class, the role of this tool in Iranian modernity in a period that modernization was injected into its society’s structure at a rapid pace should be placed under scrutiny. Therefore, according to derivation of western modernity from their four diversions of traditional thought, or what we call the nihilism, and paying attention to the five well-known properties of photography that John Szarkowski pinpointed and named as “ The thing itself “, “ details “, “ frame “, “ Time “ and “ Vantage point “ ,the ontological relevance between camera and these diversions as the four exterminator forces of pre-modern theological system is proved, and in this regard, the role of camera in Iranian modernity in the 40s and 50s have been investigated and efforts have been made to take a quick look at the intersection of the four principles mentioned above and the dominant discourse of the time, “ Coming Back To Tenet “, all with help of family and artistic photography genres.

One of the main steps an artist must take during the process of creating an artwork is to acquire a perception of beauty which will affect the creation of his artwork. Considering the relation between human and beauty in Islamic ideology is as the relation between a perceptive and the perceived. The artist, especially considering his responsibility in introducing beauty to the society, must be able to enhance his ability to see beauty by using conceptual tools, prior to creating a work of art. Researchers have always been interested in the issue of how important and necessary is knowledge to an Artist, but the issue which remains ambiguous is the manner a bouts of perception in relation to substantiating the ability to see beauty (beauty-witnessing) so as to reach a systematic solution for enhancing this ability in the artist. It has been tried in this article to investigate the issue above, by analyzing and extracting logical propositions from Qoran verses and accounts/hadiths, as well as benefitting from Allame Seyed Mohammad Hossain Tabatabai’s opinions. Accordingly, a detailed and meticulous perspective on the quiddity and essence of beauty and the quality of perception indicates that beauty is the manifestation of existential traits by the existing that makes it the responsibility of the intellect to see it; activation of the intellect relies on the quality of contemplation. A contemplation may lead to beauty-witnessing that approaches to subjects according to the existence. The solution for an artist contemplation is achieved on the basis of traits and structures of such contemplations.

The mental visual association of a vague and shapeless form may happen for anybody but only an artist can make an objective form out of it through drawing. This article studies the relationship between the visual associations of a random cardboard piece as the pattern drawn by the artists and the type of their personality as well as the level of their creativity. The samples consist of 80 artists in different educational levels including BA, MA and PhD in the Art University of Isfahan and Isfahan Painters Association that were selected by convenience sampling. A white piece of cardboard with an identical random form was given to samples on which they were asked to draw their visual association. Then, they were asked to answer a questionnaire made by the researcher along with Eysenck personality test and Torrance creativity test. This research is a quantitative study using correlation method and its data was analyzed drawing on descriptive-statistical and deductive techniques as well as SPSS software. The results of this study show that there is a significant relation between the type of personality, creativity and visual association; that is, the samples with higher level of creativity had higher personal sensitivity and were more extrovert relative to lower-creativity samples. The results also show that among various themes acquired from visual association of the cardboard piece only the association of “the man in hat” has a significant relation with the form of the piece so that the samples with higher level of creativity drew different themes whereas samples with lower level of creativity tended more to draw “the man in hat” theme. Moreover, amongst the samples, extrovert persons outnumbered other groups. The most prominent difference between extroverts and introverts lies in the association and drawing of “the man in hat” theme in which extroverts outnumbered other groups. There is also a significant relationship between the feeling of motion and various visual associations which may be due to the state or form of the piece.Hence, it could be suggested that there is a significant relation between the type of personality (introversion or extroversion), creativity and visual association among visual artists.

In this article, logical and associate aspects of art in the ninth century are explored and the factors and courses leading to such association are scrutinized in order to identify and dissect the procedures of art criticism at work in this period. The ninth century takes various artistic directions. It is considered one of the key periods of art in Iran within which different forms of artistic courses like art criticism emerge and grow in different sides. Besides elevation of works of art in this period, art criticism also affects the taste, impression, imagination, and creativity of the artists and puts them through high action in the artistic sphere. Art criticism in this period is followed by intra-structural and extra-structural processes whose main expeditor, beyond the critic’s thought, is his Islamic ideology as he evaluates the works of art from this viewpoint as a dominant principle in the 9th century criticism of art. Hence, this article makes a survey of art criticism from different aspects and then identifies its latent and apparent evidences.

What is criticism and who is a critic? What is art and why so many artists frown upon their works been criticized? Criticism is aimed at distinguishing flaws from merits, values from disvalues, and the right from the wrong, in addition to giving a better understanding of the artists’ work. It, moreover, informs the artiists about their faults and merits. Criticism, in one way or another, is a double-edged blade; it praises and condemns. It aspires in most cases to illuminate the merits and demerits, in order to help us make a better choice. There have been various critical approaches and there have been different reasons for them to come into being. Political, social and religious movements, along with psychological, aesthetic and school-orieented backgrounds have prompted the formation of new critical approaches; social progress and the change in the social and scientific institutions of the new century can be added to the list as well. Some of these critical approaches have been approved of by critics and experts and some are still being experimented. A brief study of these approaches is what this article aspires to provide.

An artwork is a form of art truth, in other words, it is the emanate of the true form of art. An art work gets all its entity and essence from the genus of the form identity, the identity of art in turn stems from the true beauty and the true beauty is the mean source of substantial form of the achieved art. The artist invents a substantial, abstract, heavenly and ideal form of true beauty in his imaginary mind with his intuitive perception of the existence. This substantial form with all its entity receives its existence ‘on the base of the artist capacity, from the absolute and eternal beauty. That substantial form is the beginning and source of art work creation. An artwork interpretation is based on the mental system of the interpreter and the artwork interpreter first encounter’s the form of art and then interprets it on the base of the aspects which are achieved in the work. Artwork interpretation by different interpreters with diverse mental presuppositions leads to different and even contrast concept manifestations about a single work as a result an artwork especially in the field of literature is red and interpreted in different readings and diverse intakes. Any interpretation related to the sign and symbols used in an artwork is a mental reaction of us towards a context. Art context take its intrinsic truth from the art substantial form and reveals diverse meanings with different interpretation views understanding the mental system of a critic and artwork addressee can uncover the theoretical principles of the interpreter. An art form apart from the interpreter’s theoretical systems has an independent. Existence in the artwork which above all interpretations has intrinsic independence.