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

Tawhid is the most fundamental principle of belief in Islam, and it means the oneness of God. This principle is in progress throughout the components of religion. Islamic art is also influenced by tawhid, like the components of religion, and this principle is crystallized in various manifestations. The main purpose of this research is to analyze the effects of the principle of tawhid on Islamic art and the research method of this research is descriptive-analytical and the method of collecting information is library. The results of the research show that the effects of tawhid on Islamic art can be classified into four parts, the first part of which is abstractionism or stylization, which is opposite to figurative art and is based on the revisionist approach of Islamic art. Another effect is the tendency of the motifs to be horizontal, which stems from the belief in the unity of existence and that tawhid is only possible through the impossibility of the parts in the whole and the plurality in the unity. The third is symbolism or symbolism, which is one of the important features of Islamic art, in which the artist presents tawhid thinking through the use of symbols such as publishing quality motifs, spiral motifs, twisted motifs, crucifixes, etc. And the fourth is order, proportion and repetition in Islamic art, which instills the tawhid of God and invites the audience to think about the proof of order.

The sublime is at the heart of Kant's aesthetic philosophy. According to Kant it refers to infinite and infinite conceptions such as time, death, space, and the spiritual world; it refers to greatness that is superior to any comparison and beyond any deduction. This marvelous greatness can be attributed to moral action, the grandeur of pure thought, or the greatness of natural lords, such as the enormous storm or ocean of infinity, and even the greatness of a work of art. The research is based on a descriptiveanalytical method with inductive reasoning and data is collected via library research. The results of the study demonstrate that the theory of the sublime is best presented in the religious church art; moreover, the paintings of the Gothic period compared to the Byzantine period is a representative of this art that undoubtedly remarks Kant's theory of the sublime.

This article aimes to emphasize certain points concerning traditional art , and to put forward a question. As the term” Traditional art” is rather ambiguous, first we try to clarify it. To do so, we propose an approach somehow different from one generally admitted. Thereby, we discuss the reasons why it is not so easy to give a definition of traditional art, islamic art in particular, specially from a historical point of view. That is why some specialists are willing to deny the existence of islamic art, as some historiens of philosophy seem to have the same attitude vis-a-vis islamic philosophy. Finally, encountering handicrafts with modern technology, we ask whether , in the light of traditional art, it is possible to speak of aesthetique regarding technological products : could a refrigerator be called beautiful; what about a washing machine or a car etc. ? In other words, how could we, with reference to traditional art, define an aesthetique for modern technology and, to speake in platonic terms,save it from the rudeness of the factory?

Throughout his works, Schuon has made numerous references to concepts like traditional art, sacred art, religious art, and secular art. The first question that comes to one’s mind upon reading his works is how these concepts are related with each other and what contrasts and overlaps are found among them. It seems that Schuon saw the main opposition between the two concepts of traditional art and secular art while the two other or similar concepts could be as well defined and understood in the light of the traditional and the secular. This paper is an attempt to view the two opposing type of art from different perspectives. It can be said that this opposition is basically set on the two arts’ different cosmological and anthropological grounds. The traditional art’s ideology believes in the hierarchical order in both spheres of cosmology (macrocosm) and anthropology (microcosm) with at least three distinct spheres, whereas secular art’s ideology believes in two believes in a univalent - or optimum two spheres – for each man in the world. Therefore, the whole opposition between the two types of art could be explained based on this principal opposition.

The present article describes the development and different evolution stages of Frankfurt school, and foregrounds the characteristics of the followers of the school in their confrontation with monodimension societies as well as extreme pragmatic beliefs. Negative and critical view of these philosophers on art is clearly manifested in Theodor Adorno’s ideas, and obviously in Utopian and dialectic concepts. Adorno evaluates confirmative aspect of aesthetics as it is delineated in beliefs of Kant and Hegel. He shows, by an attractive analysis, what elements in the roots of affirmative view provide art with the prerequisites of the domination of instrumental intellect. Central to the negative view of Adorno in aesthetic treatment are concepts such as distress, shock, otherness and antihabit.

Traditionalist generally classify art into three groups of religious, traditional, and holy. The first two are regarded as spiritual arts, but the third one is called holy which is higher in hierarchy. To the traditionalists, there is a distinct borderline between these arts. Holy art has a direct influence upon religious and traditional art. It has its own language and its message is universal. The holy art’s message is the same in all religions, but it is manifested differently in each one. In Christianity, for instance, this message is pictured in the art of Christ’s Portrayal, in Islamic art it is pictured in the art of reciting Koran, calligraphy, the holy architecture, and in some of the literary and mystic works. The holy art’s specialty lies in its heavenly beauty, but the beauty itself is not the target. On the contrary, this beauty is a reflection of the God’s infinite beauty. This beauty holds its mirror to the spiritual and inner world. Thus the artist who creates such art is a special person and also the audience of such art are special people as well. Regarding what was said, this article studies the characteristics of traditional art and also the higher art which is the holy art. In this frame, while analyzing the characteristics of such arts, the article will also study the ideas and theories of some remarkable figures of traditional school in west including A.K. Coomaraswamy, Rene Guenon, Frithjof Schuon, Martin Lings, and Seyyed Hossein Nasr.