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

When a person is confronted with an artwork, he speaks to it, reads it to himself, and achieves a degree of understanding and interpreting of it. Different thinkers and philosophers have offered different theories about this understanding and interpreting and what it is, and how to achieve it. The scope of these theories can be considered as a subset of two ways of thinking, namely structuralism and hermeneutics in philosophy and humanities. Structuralism seeks to methodize the understanding and interpreting of social and cultural phenomena and resorts to linguistics and semiotics through structures and patterns. Structuralisms speak with confidence and certainty about scientific methods that will lead to achieving the final, ultimate, absolute, definitive, comprehensive and complete interpreting of everything, including the art works. Hermeneutics is also known as the science of understanding, human works, and interpretation of texts. Hermeneutics also deals with the study of interpreting, human works, and the interpretation of texts. If we consider two different forms for hermeneutics, the first form is traditional hermeneutics, which follows the theories of biblical interpretation. It was founded on the ideas of thinkers such as Schleiermacher and Dilthey. The second form is contemporary or philosophical hermeneutics, which deals with the theories of Martin Heidegger and Hans-Georg Gadamer. Gadamer's philosophical hermeneutics deals with the study and philosophical exploration of interpreting and the necessary conditions for it. Therefore, there are different perspectives that discuss how to interpret the artworks. This study discusses how man interpret the artworks from the perspective of the contemporary hermeneutics of Hans-Georg Gadamer. Therefore, this research seeks to answer the question of how man achieves an interpretation of artworks. The aim of the current research is to understand how to interpret art works from Gadamer's point of view. The current research is "fundamental-theoretical" in terms of purpose and is presented as "interpretive-analytical" in terms of nature and method, and "library" is term of data collection method, and in terms of analysis method is "qualitative". After studying the methods that are used in qualitative research for data analysis, the phenomenological method was chosen with the approach of interpretive phenomenology or hermeneutic phenomenology, which was the most relevant for the nature of the research. This method is one of the most famous contemporary philosophies, which claims to interpret concepts in order to penetrate them. Therefore, in this research, we will also doubt all the past existing interpreting of art works and once again we will examine everything by the phenomenological method and from the perspective of Gadamer's philosophical hermeneutics. Therefore, it first examines the concepts of "artwork", "man", and "interpretation" and its relation to understanding and Hermeneutics, and then examines how man interpret the art works from Gadamer's perspective. In concept of "artwork", the research explained what art is, its relationship with techne, technology and aesthetics, and pointed out the reduction of the study of art to aesthetics in the Renaissance era and after. Also, the discussion about "man" and his position and dignity started from the Renaissance era and a fundamental change in the worldview of man. Man turned from heaven to earth. In other words, the human intellectual world gradually broke away from the values and thoughts with a supernatural orientation and turned to the thoughts and values related to the natural world and human life. As a result of Cartesian thinking, man was placed in the center and reached a new interpreting of concepts such as art and art works. Art was reduced to having a pleasant and artistic pleasure. And paying attention to instrumental and calculating reason, natural sciences, and scientific methods leads man to dominate nature, But Heidegger and Gadamer deny the thinking of their contemporaries. In concepts of "interpretation" and its relation to understanding and Hermeneutics, the existing translations of hermeneutics in Persian language were referred to and finally the differences of opinion regarding the translation of this word were ignored and the meaning of "to interpret" was considered for this word.
With these prerequisites, the research focused on the interpreting of art works from Gadamer's point of view. Gadamer's view on how to interpret an artwork summarized in seven key points:First point: man interpreting of an artwork is not an immutable, final, comprehensive, and complete interpreting; because man is always navigating this path and every time new ways appear in this path. Man, as an interpreter of artwork, will receive a manifestation of the truth of artwork at any point in time. Therefore, reaching certainty and a definitive answer has no place in interpreting the artwork in philosophical hermeneutics. From Gadamer's point of view, there cannot be a superior interpreting of artwork, and interpreting the artwork is an endless process and cannot be predicted.
Second point: interpreting the artwork is in many ways related to the concept of the game. These include going beyond the usual experience, understanding their rules and surrendering to it, having an uncertain end, and not being instrumental.
Third point: The artwork does not always have the same meaning, there are always different and multiple interpretations of an artwork, and different interpreters may provide different interpretations of the artwork. These interpretations will be different depending on the time horizon, historical perception of the interpreter and the relationship and interaction between the artwork and its interpreter. The endless number of interpretations of an artwork is possible and natural.
Fourth point: The mental background and previous knowledge of the interpreter of the artwork has a significant impact on his interpreting of the art work. The combination of beliefs, traditions, and perceptions that man inherits from his ancestral culture, society, and religion makes his interpreting.
These factors create a mentality for the interpreter of artwork in order to start a conversation with the artwork. When the interpreter encounters an artwork, his understanding and orientation towards that artwork is influenced by the totality of cultures and traditions that encompass his life and to which the interpreter belongs.
Fifth point: interpreting of artwork also occurs when a person penetrates into the language. In other words, interacting with the artwork leads to its interpretation. The interpreter of art work must first understand the language of art work, and a dialogue takes place between the interpreter and the art work. As a result, a common language is obtained. And interpreting comes from this common language.
Sixth point: interpreting of artwork is achieved through the hermeneutic cycle and questions and answers between the artwork and its audience.Seventh point: The time lag between the art work and the interpreter challenges the interpretation of it. Paying attention to the history of the artwork causes the emergence of a common language between the interpreter and the artwork and better interpreting.
In short, in the hermeneutic interpreting of the artwork, Gadamer proposes the absence of an unchangeable, comprehensive, complete, and final interpreting of the artwork. He proposes the entry of man into the artistic game. He points to the existence of different and multiple interpretations of artwork. He considers the mental background and prior knowledge of the interpreter to be an important point in interpreting the artwork. He finds the artwork in dialogue and conversation with man. He also considers the interpreting of artwork to be dependent on the understanding of the language of artwork. He interprets reaching a common language as a hermeneutic round.  And finally, he introduces attention to time and history in interpreting artwork.

Humans have been familiar with concepts such as ugliness and beauty from the outset and have applied them to various objects. Upon seeing a picture or painting of nature or a statue of a man or animal, they admire it and use beautiful and ugly words to describe it. Humans tried to objectify what they thought in their minds, and the outcome of that objectivation was called art. Thinking and understanding have been two basic and inseparable things in the way of human life since the beginning and ever since there was a text, writing, image, or a sign, man has always tried to translate, interpret and understand it, and for the same reason He used various methods to understand and convey what he faced. In the meantime, art, as a universal language in expressing fundamental ideas and concepts, has played an essential role in the formation of thoughts and theories throughout history, and for this reason, its meaning and interpretation require a scientific and accurate method. In this research, I intend to go beyond the everyday view of art with a descriptive-analytical method and a philosophical approach and examine the role of the hermeneutic method in the interpretation of works of art. As part of this search, data was collected through library materials. The findings show that the work of art is an event of the truth and an aspect of the truth is revealed in it, it needs a precise and scientific interpretation, and the interpreter must, in the hermeneutic analysis of the work of art, consider the concept of betweenness, being an object, and interpreting the appearance. The artwork goes beyond and rightly interprets the truth that the artwork is the platform for its appearance.

The creation of artworks by individuals depends on various individual and social factors. In this regard, due to the close relationship between artistic creation and physical and spiritual ability, issues regarding the possibility and how to create a work of art by people with disabilities are raised. Deleuze's philosophy affirms that the creation of a work of art does not require a special organization nor does it necessitate the physical development of mankind; hence, it is possible to create a work of art without an organized body and a disabled person can easily create a magnificent artwork through the power of his senses. This research follows a qualitative method and by the aid of library studies it seeks to study of the effects of photography of disabled photographers who describe the philosophy of the body without any parts as the main component of the art of photography to transfer the power of art, creation and scrutiny in photography. In this study, the works of Pete Eckert and Ahmad Zorkarnian as artists with disabilities are examined. The findings of the study indicate that people with disabilities can also create a fragmented but perfect artistic creation based on the view of Deleuze's body, which is based on emotion and senses. Relying on the philosophy of the body, physical disability does not prevent the creation of a work of art in photography; therefore, by understanding the concept of existence and sensation in art, people with disabilities can create works of art that are alive and spectacular.

To investigate the possibility of eliminating physical disability in photography based on Deleuze's body philosophy.To recognize the effect of physical and mental factors in creating a work of art.

Research questions

What is the role of senses in the works of art of the photographer according to Deleuze's body philosophy?What physical and mental factors play a role in the artist's creation of his works of art?

When we are talking about artwork, what are we talking about? Is the meaning of art as a kind of accurate representation of the world as realists may believe it, or are we talking about extrapolation to human psychological states that, as an artist, evaporates from its psychological state? Each of these questions will inevitably lead us to believe in a form of representation of something original and pre-existing. Whether the world, whether nature and society, or the psychological state of the artist - fears, frustrations, love, hatred, and other psychological situations. In this paper, we have tried to illustrate how some of the phenomenological concepts of Edmund Husserl's literature show how the artwork is a form of representing the meaning of the world, as it has been given in the artist's intentional and none-reflective experience. To do this we have tried to provide a proper definition of the concepts we have in Husserl. meanwhile, we tried to establish the proportions that are necessary to achieve the goal of our research. Our basic questions are about the work of art, body and its relationship with the work of art and its perception, as well as the fundamental relationship between the artist and the work of art. We devoted ourselves to trying to demonstrate the artistic nature of art in general and artwork in particular. We tried to enlighten the relationship between the artwork as an object and the objectivity of art-between what the objectivity of art is, and what, as it may be, in the realist approach of art, the artwork as an object is. We also examined the importance of the artist's intentional experiences during the creation of artwork. We also tried to illustrate the importance of the artist's relation to the world around him in virtue of his living-body, both in the production of artwork and in understanding it. Our attempt to demonstrate the attachment of artwork to a natural approach has also examined the relationship between truth claims and art in a phenomenological reading. This, of course, is only a preliminary attempt to move towards a formulation by which we might be able to find new possible truth foundations in art and artworks. We are totally writing against representationalism in an understanding of art, be it a positive approach to representation or a negative one. We proceed toward our research by some prepositions; such as Art is something autonomous which is not bound to any scientific approaches; Arti is not A representation of something it creates the world; by such a creation art provides a non-scientific foundation for human conversation as a tool for improving the world as an inter-subjective world shared in our inter-bodily existence. We also decided to apply Husserlian Conceptions in regard to prepare an answer for anti-foundationalist accounts of art which totally deform what we know as Art and reduce Art to a kind of self-expression of a soloistic Subject which they call an artist. It is of course just an introductory essay.

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 preservation of the authenticity of artworks in the art history and contemporary era has been always important and necessary. In the present era, the return to the traditions of the past has made it necessary to understand the concept of originality in relation to topics such as inspiration and adaptation in the art visual works. Reading past works in the artist's minds reveals their impact in two different ways, one is an inspiration (unconscious influence) and the other is adaptation. In inspiration, the artist without prior intention is affected by the elements and practices of his predecessors, and repeats their form and style work in their artwork. In the second figure, the artist, having full conscious of the origin of the method, engages in it. Of course, these readings sometimes question the notions of authenticity of artwork. Therefore, the importance of understanding the concept of authenticity in relation between two topics such as inspiration and adaptation in the works of visual arts is important and significant. From ancient times to today, we have seen the many artists’ works of the past to this day using various adaptations and references. Of course, the scope of these adaptations is not just limited to visual arts, but we have also seen valuable adaptations in literature, theater and scriptwriting. It is also important to note that, given the fact that any valuable traditional artist in his past finds, the achievement of superb creativity, if not based on innate genius, requires familiarity with artistic tradition and the form inherited by the artist. That is the way to significance the role of inspiration shows. This article aims to explain the position and role of authenticity in visual arts in answer to the main question of whether the artist that inspired and adapted from other visual artworks, can preserve authenticity of artworks. Another issue that is addressed here is the role of artist's individual creativity in the authentication of work. Considering the results of research about the inspiration and adaptation of art works and art history, if artists achieve a new personal and creative statement in accordance with the principles and knowledge, they do not cause destructive effects on authenticity while the new work preserving the authenticity of the earlier work. It can also count as a new authenticity and a genuine artist's expression. In the contemporary era, the division of the artwork’s authenticity into absolute and relative authenticity can allow understanding and preservation of the authenticity’s concept in view of the present age’s complexities. In addition to, an artwork that introduces familiar and well-known issues is not authentic, however the art work that expresses the new perspective and initiative on a subject or content count authentic. Therefore, in the present article, it has been tried to mention the role of inspiration and adaptation concepts separately by introducing samples of some artists’ works and the discussions in relation to the authenticity of the artwork. Research methodology is descriptive analytical method with library studies and using Internet resources.

The art and artist play an important role in the conservation of values, human goals and showing social wishes and behaviors. Works of art affected by social and cultural events are important actors. If these works are introduced and investigated in the semiology studies of arts, they can improve the explanation enrichment and achievements of this kind of researches. Also, they can increase the knowledge and understanding of cultural and artistic domains of society.
The presented is an attempt to answer the following question: How one could achieve the study and analysis of a work of art through semiology studies and meaning generative flow method and reach its hidden trueness and concepts?
It is assumed that such studies lead to a better understanding of society’s art and culture. This could be achieved by considering the dominant discursive systems and notational style and properties of the works.
The aim of this research is to evaluate and identify sign elements of chosen works, in order to obtain the background and hidden meaning aspects in different layers and to demonstrate how the acts and relationships of different elements can form an interactive and meaningful discourse.
The research is a descriptive-analytic strategy in nature. To this purpose, works with social content were selected. In addition to study the theoretical aspect, this method investigates the most important backgrounds of the production of these works’ concepts in the meaning generative flow process based on the Greimas study pattern. It also covers the appearance of meaning in the text through signs, elements relations and the study and analysis of deep structures.
The research results show that artistic discourses and different oppositional relation can be analyzed using a semiological perspective and generative trajectory of meaning and find out their semantic significations. Also, discovering hidden concepts in the works could lead to a better and more conscious knowledge of society and its evolutions. Data were gathered from available resources in the mass media

George Dickie introduces an innovative definition in the knowledge of art through a social-cultural context in institutional theory. The purpose of such a context is the same artworld which has the ability and competence to grant an artistic dignity to a work and can turn it into an artwork. So, what turns something into an artwork is not apparently a specific noticeable quality, but rather a particular dignity that the artworld attaches to it. In fact, a work is only referred to as an artwork when formed in its institutional context called artworld. So, in George Dickie's viewpoints, the subject of art is based on a more anthropomorphic subject and on cultural phenomena, actions and behaviors related to the artworld. On the one hand, the design of the artifact component in the institutional theory opens the way for the arrival of many pre-made and ready-made works to the art field. In this context, many postmodern artistic movements, including the works of conceptual art, can be evaluated and analyzed. Prior to introducing the artifact component to the creation of artworks, what was always accepted by the audience as art and artwork was works based on the traits and qualities of aesthetics and other artistic theories such as imitation, expression, and formalism, but by introduction of such a component, many of the works that were previously not accepted as an artwork were turned into art by receiving dignity from the artworld.The objective of this research is to challenge the basic concepts of Dickie's institutional theory, including the nature of the artwork, the artifact, and the artworld. In his viewpoint, George Dickie regards the artworld including members of (art philosophers, instructors, artists, etc.) who, by granting artistic dignity to a work, can transform it into an artistic work, but what are the eminent criteria for the artworld qualified to grant artistic dignity to a work? On the one hand, according to George Dickie, a work is an artifact that shapes the nature of an artwork. Now, a question arises as to whether the artifact has a clear definition in George Dickie's viewpoint? However, what is known about the characteristics of an artifact is based on the notion of Noël Carroll. Considering the descriptive-analytical research method of this paper, the basic concepts of institutional theory seem to be ambiguous. Such ambiguities are caused by the fact that George Dickie, in his viewpoints, does not set out particular criteria and specifications for defining them. Such ambiguities challenge art as an institution, and according to Levinson's historical theory, the creation of an artwork does not always require a social institution such as artworld. On the other hand, institutional theory cannot provide a comprehensive definition of art and artworks like artistic theories since a social and cultural context, such as the artworld, may be effective in transforming a work into an artwork but it cannot be considered as a necessary and sufficient condition for creation of an artwork. Despite the ambiguity and critique of the above theory, the introduction of such a theory in art can cause to include many works in the field of art. In George Dickie's institutional theory, despite the presence of a convincing definition of art and artwork, many arts, including conceptual art, can be analyzed and evaluated because the fundamental components of institutional theory are fully adaptable to such works. For example, what has always been considered for a conceptual artist in the creation of an artwork is the artist’s idea and the negation of the work of art. For example, what has always been for the conceptual artist in the creation of the work of art was the idea of the artist and the objectivity negation of the artwork. The transfer of the artist’s idea, as a member of the artworld, is fully compatible with the component of the artifact of George Dickie’s theory, and on the other hand, rejecting any objectivity in the creation of the artwork, challenges all artistic theories based on the traits and qualities of modern aesthetics. It can certainly be said that such a theory is important because it gives open and wide meaning to art and artwork. George Dickie's institutional theory does not intend to determine the value of an artwork, but what is emphasized by such a theory is the nature of art which can be provided by components such as artifact, artworld, and the good and suitable object. Dickie can give his audience a more comprehensive definition of art and artwork by setting out the specifications and criteria for an artifact and every member of the artworld. However, such ambiguity may lead to include many unartistic works in the field of art. The entry of unrelated works may deviate George Dickie’s aim on presenting the nature of art and defining the artwork

In the last few centuries man has been witnessing rapid technological development. So far advances in technology lead to better livelihoods in many aspects of life, including art. Technology has been sobering effect on the traditional art concepts to new meaning. The era of technology proceed the creation and reproduction of contents and functions of modern society which is rooted in everyday life.it coincides with the emergence of innovative and avant-garde art and commodity stereotypes in society which leads to a culture where art and life became intertwined together. So stereotypical values in art was common while as much fun without reflection was accessible to all.So by this way, it helps artwork to be reproduced and it has been available to the masses. This article is to explain the influence of technology in art and commodification of art through mass production. It uses descriptive terms and taking advantages of library sources such as technology, in order to review the impact of technology on art works and its aim is to explain the relationship of the technological community and art through the incorporation of art and everyday life. Reproduction of a work of art happens in a society that is inclusive of technology and capitalism. In a capitalist system, tangible and personal ties between producer and consumer is discrete. Artist for foreign (future consumer) that he will not see produce and this is the same market. Thus, the art, the material crystallized the value of the exchange, is approaching to the state of money, the abstract product.Therefore in such a society production was formed in the wake of the consumption. Following the production process, an exchange system is shaped. The mechanism affected by technology, is leading to changes in the nature and quality of artistic production. So Art inextricably linked with everyday life and becomes an integral part of it. so, in such circumstances, the artist is considered as a commodity producer of art. The artist makes unique works outside its monopoly with mass production. So an object disruption are influenced on the functions of human relations in society and therefore artwork as a concrete object in commodities will be seemingly normal. He used the media, materials and various tools regardless of the traditional concerns with the help of various technologies try to create art, or reproduce his artwork in order to be balm to the innate needs. As a result of the proliferation and Mass production, art is transformed into something accessible, and the artist with mass production and economic approach to art removed it from the framework of art. In this case the artist becomes the manufacturer and tries to look at the perfect effect of demand and supply and to convert their products to money. And finally out of the aesthetic approach, work of art becomes an object, so that there is no attention to aesthetic values and is provided as a product.

Light as an incorporeal element of urban landscape plays a significant role in the city activities during the night as well as the formation of the citys nightscape. Urban lighting in developed countries is considered as an interdisciplinary knowledge of the technical, engineering, humanities and art fields, which calls for joint co-operation among specialists. The formation and quality of social interaction and have been a popular topic, widely discussed in the civil societies. Since urban lighting is a special effort to facilitate the survival of urban social life, it is necessary to pay more attention to this issue, as the developed countries have benefited from its potentials. The current study argues that urban lighting has undergone dramatic changes since the arrival of the new era internationally. BBased on the formation aims and the citizens’s role as the target audiences, it can be divided into four categories: 1) Functional- Supplying light 2) Decorating and symbolizing 3) Creating artworks 4) Creating artistic texts In addition the role of citizens from the consumers and passive spectator has been changed to the producers, actors and active users. Thus, it can be concluded that the potentials of urban lighting have been promoted from a merely functional to an interactive art that is capable to satisfy social interactions which one of the main goals of urbanization. This paper is mainly focused to draw the attentions of managers, specialists and artists of the country to this new area. this may lead to make the advantages of the available potentials. Considering the global experiences it may also lead to the improvement of urban night landscape qualities by the application of the aesthetic and artistic approaches and renovation of the disconnected social relations and interactions arisen from the modern era. it may also give an insight to the healing the landscape system of our cities.

The problem of Autonomy of art in Adorno’s aesthetic is one of the most valuable and impressive subjects in contemporary aesthetic. On the one hand, Adorno uses “monad” metaphor (in Leibnizian meaning) for describing autonomous art work, and, on the other hand, he introduces art work as an absolute commodity. This study wants to answer this question: according to Adorno’s idea, how autonomous art works are to be realized under the condions where commodified relation are dominated? Understanding this subject is dependent on conceiving the theoretical basis of Adorno’s philosophy and especially his negative dialectic theory. In the first part of this study I would try to prove the necessity of Adorno’s dialecticalhistorical defense of autonomy of art with a short explanation of his non- identical thinking approach and negative dialectic theory, as a basis of his philosophy. In the second part, while explaining the aspect of political economy in the theory of negative dialectic and by elucidating the dominant commodified logic in art, I would try to clarify that the art work reveals the absolute commodity to be an aspect of autonomy.

Human’s conception and cognition of art takes place in their communication with the work of art. These works’ hidden concepts and values which have been beyond their creators’ thoughts manifest in relation with the works. The process of cognition is conceiving the creator’s thought which manifests in a physical body. Communication process is one of the most important aspects in the value of a piece of art. Conception has its roots in philosophy. Knowing its identity and explaining its function in knowledge has been paid lots of attention by philosophers. Understanding this concept is one of the most prominent subjects in knowing one self and the world around. When we see a work of art, understanding and knowing the meta-physical aspects, besides the physical ones, are of utmost impotance. In conceiving every work of art, hidden features and values have effective roles in gaining knowledge. One of the noticeable features in this field is the beauty and aesthetic conception of a work which will be created in connection with audiences’ views. Therefore, the audiences’ presence and their conception of hidden values of a work of art will be significant in keeping the work of art. In conveying these features and knowing them, the audiences’ presence and their interactional relation with work is of utmost importance. So, when we see a work of art, the process of conception has an important role and audience is an integrated part of a work of art. In order to reach the goal of the study and answer its questions, the selected method of the study will be interpretive-analytical. To do this, first the process of conception from the viewpoints of philosophy and Islamic and Western philosophers is scrutinized. Then, beauty conception is analyzed from the viewpoints of scholars so that the characteristics and criteria of this process are identified. A comparative study is done to identify the features of conception and beauty among Western and Islamic philosophers. Through this, how the audiences perceive these characteristics can be obtained. Human’s conception and cognition of art, as an epistemologic subject, has its roots in other epistemological domains such as philosophy. In fact, philosophers and scholars’ views of conception of beauty provokes thought. In the present study, it is tried to evaluate and understand the conception of a work and the audiences’ aesthetic values according to Islamic and Western philosophers and scholars based on interpretive-analytic approaches. Also, this study benefits from logical argumentation to analyze the audiences’ understanding and aesthetic processes. Findings reveal that works of art are formal and semantic realities and their understanding is an interactional relation among emotion, thought, wisdom, and human conception. Understanding beauty is both a subjective and an objective process which is identified in three stages of selection, analysis, and giving meaning. Therefore, perception is discovery. Here, the audiences’ mentality playes its role and its socio-cultural conditions influence the field. Conception can be introduced as a subjective and objective process to depict the internal and external views.

The present article aims to examine the roots of pictorial poetic thinking in Paul Klee’s image-making, with an emphasis on Martin Heidegger’s view on reflective thinking as thinking-in-liberation and the emergence of beings’ existential truth. Therefore, to reach the gist of Heidegger’s perception of poetic character as art’s true nature and its relation to Paul Klee’s artistic creations this paper tries to answer the main question of whether the existential truth in Paul Klee’s pictorial expression is in line with his specific viewpoint towards existence. While examining Heidegger’s ideas on the manifestation of truth in an art work and comparing it to Paul Klee’s reflections on the emergence of the elements of an image in the process of formation, it is argued that according to Heidegger, reflective thinking is a way of life for humans in the universe and in relation with other beings which gives them freedom from any invasive inculcation; and unlike most other modern artists, Paul Klee has managed to express this perspective in his artistic creations. This is why, Heidegger appreciates his images for revealing the existential truth about beings. The paper follows a descriptive analytical methodology and data collection has been done through library work and exploration of the cyberspace.

Today، the boundary between trade and goods selling market with culture and art has been diminished and every group has become dependent on other in order to achieve its own objectives. The art has a very special position in the global economy. The emergence of powerful، effective and role-playing fundamentals، as the mediator، has caused the more apparent interaction between art and trade/commerce. The mediators can be identified as the introducers of all that interfere between artistic work and its acceptance. Social successes stereotyped with economic and cultural capital aspects. Art as a cultural system plays a significant role in every society and interacts with economic systems from the stage of production to reception. Consequently، economic system and trade market utilize the artists and art pieces by acknowledging people’s interest and aesthetic. In general، there are many complicated relations and factors for success and development of an art piece such as producer (artist)، consumer/the purchaser (museums، collections، etc)، and mediators (active cultural & economical agents) who play critical role to offer and market those artifacts in international transaction. Economic scope and capitalism try to affect cultural and artistic classes through the brokers (agents) leverage. Mediators who are growing rapidly have an important influence in interaction between art and trade with powerful intervention in turnover of art attributed pecuniary transactions. Therefore they provide influential leverage to define biased norms for art pieces. They could affect the fashioned governance of the community and defeat people to apply biased tastes to reinforce deviated policy which could be either constructive or destructive. The theory section of this paper relies on analysis of interactions between these two components، art and trade. By studying the semiology theory of Greimas، some of the most important mediators such as external agents، social and cultural agents، artistic qualities and quantities، symbols، place and method of art presentation are studied. Art piece could bring a viable and constructive interaction between economic and trade world، since it highly depends on the leverage of extensive network and social agents as mediators like businessmen to put them for transaction and collectors to buy them، Critics to criticize them and authors to introduce them، specialists، agents at exhibitions and auctions، museum owners، conservators، pavilion directors، historiographers، spectators، audiences، performers، mass media and others that contribute to the artist’s spiritual and financial situation. Proponents and producers of commodities reinforce the cultural and artistic elements by transaction of art pieces and artifacts in spite of reaching social and cultural prestige by adhering to dissemination of labels and logo carried by the relevant commodities while they occasionally stencil desired trademark and embody indirectly in the artifact. Manifestation of hefty forces and mediators in the global markets maintain the duel scene for challenge and partnership of the two phenomena of art and economic. It is evident that culture poses a prominent part in the prosperity of economy development; thereby economic compromising would contribute significantly to the trends of artistic prosperity under global trade and economic dynamism within the background of cultural and artistic potentiality. This paper، by benefiting from the squares of Greimas Semiotics and investigating the interacting between art and commerce، analyzes the role of mediators in evaluating and trading art. Considering the existing findings that indicate an everyday growth of art markets as a result of the related mediators’ participation، engaging in this discussion and expressing the existing challenges are seemed necessary in this regard. In this article by aggregating the library information using the analytical-descriptive method، we conclude the response of the question that which factors are more effective in the interaction of art with the economics and commerce world. Intervention and participation of mediating factors as well as different actors as a network of meaning and social values can cause the growth of art and economy and the more understanding of culture. The more knowledge in this field can increase the enrichment of artistic، cultural and economic outcomes.

In the nineteenth century, conservation meant keeping the truth of a work and revealing it whereas in later periods it was defined with other meanings such as facilitating the act of reading. In both revealing and facilitating the act of reading, conservation refers to understanding and interpretation of the work. Paying attention to spiritual as well as material aspects of the work causes understanding and reading of its meanings to elucidate other aspects of understanding and reception. Accordingly, the main question raised in this research is what relationship does exist between approaches of interpretation and reception of the artistic work and conservation theories. Moreover, can it be said that the task of the conserver at the moment of conservation is interpretation of the work and later stages of conservation form on the basis of it? Accordingly, investigating the theories of conservation and hermeneutic approaches, this research aims to study their common features. Also, it is shown that the moment of conservation is the very moment of understanding the work and such knowledge is not obtained unless the conserver interprets the work like an interpreter to the extent that the theorists of conservation have based the principles of conservation on interpretive approaches like intention of the artist, work and reader from the beginning to the present. Using analytic-inferential method and written documents and sources, this article compares the approaches of conservation, hermeneutics and reception theory with each other. Moreover, their common aspects are identified in order to show that conservation in both definitions and its theorists’ view requires interpretive approach. Although in some theories an aspect like the intention of the artist has become prominent, each of interpretive approaches is necessary but not sufficient alone because each work has a unique existence and requires a particular interpretation and all works cannot be conserved based simply on one approach.

This article describes the role of technology in the developments occurred in the experience of the work of art in modern era. First، the philosophical fundaments of Benjamin views on experience and the historical backgrounds of his considerations about art are explained. Following، the effects of technology is assessed both on the essence and perception of art. It is discussed that technology، while changing the sentimental apparatus of human being، has effaced the distance and uniqueness of artwork for its audience; a situation which is in turn a direct consequence of the presence of technological reproduction in the sphere of art. The result of such a historical shift is the decline of the artwork’s aura and the replacement of ritual func5 tions by exhibition value. The arts like photography and cinema، which depend on technology، are essentially reproducible and their function is fully exhibitive. Hence، the exhibitive appeal to art for the masses makes it political. Such an appeal can be either of use to totalitarian forces in society، like Fascists، or becomes a means for enlightening the masses and making them compatible with conditions of modern technological life.

Meaninglessness، as the most important aesthetic character of the works of Samuel Beckett and Theatre of the Absurd، is a way by means of which the modernistic works of art try to confront the annihilation of meaning and crisis of modernity. Trying to deny the meaning while utilizing a negative approach، which in turn arises from the way they deal with their inner problems، these works can be seen as endeavors for expressing the ineffability of the impossible. In this article it would be discussed، in an Adornoian aesthetical framework، that the meaninglessness in Beckett’s plays is not only a philosophical and artistic necessity، but also comes from the inevitable enigmas of these works. Accordingly، the hidden dialectics of these works which makes them some sort of puzzle، exposes them to multiple interpretation. Yet، while displaying the works potential interpretations، this characteristic at the same time negates any interpretation and، by causing more ambiguity in the work، shows the shortcomings of any attempt for unveiling the meaning. In opposition to this characteristic of the work of art، the interpretation tries to overcome the indeterminacy of the works’ elements and make itself clear and visible through unveiling the work’s enigma، ambiguity، and absurdity. However، what always remains absent in this negative dialectics is the meaning of the work’s enigma.