جستجوی مقالات مرتبط با کلیدواژه « “world” » در نشریات گروه « هنر و معماری »

In the works of Khajavi Kermani, we always see the unpleasant and deceptive image of the world. This attitude is in line with what is seen in mystical schools; But what invites the audience to reconsider this attitude is the undeniable alignment that links the view expressed in Khajoo's works to the way the world is presented in Nahj al-Balaghah. What has been narrated about the world in Nahj al-Balaghah shows its rejection and condemnation by the pious Mawlawi, an attitude that has not been dealt with severely in the Qur'an, the holy book of Muslims, and of course this means a contradiction in the thought of Imam Ali (as). ) Is not with the teachings of the Qur'an; Rather, it is the necessity of social conditions that has led the Imam to write such a view. In this article, we try to compare the attitude of Ali (AS) in Nahj al-Balaghah with secularism in the works of Khajavi Kermani. This article will be done in a descriptive-analytical way and with a library method. The purpose of this study is to investigate the similarities and inequalities of Khajavi Kermani's view of the world with Nahj al-Balagheh's view of the world. The main question of the research is to what extent secularism has been influenced by Nahj al-Balaghah in the works of Khajavi Kermani. The results of the research show that Khajavi Kermani, who was familiar with Nahj al-Balaghah and the words of Ali (AS), describes the world as worthless, deceptive.

Art has always played a significant and important role in the effective transmission of ideas and judgments.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic MysticismTo explain the aspects and dimensions of Iranian Islamic art, the discovery of mystical and esoteric foundations and contemplation on the inner aspects of this art is an undeniable necessity. Iranian art cannot be identified without mysticism. Mystics and artists reach common ground in the field of Iranian art; Both mysticism and art reach the nature of existence through the path of discovery and rational intuition - that is, the reflection of absolute existence (absolute light). Both the mystic and the artist consider the universe as a manifestation of God's love. The difference is that mystics have no obligation to share their mystical findings with everyone, and this is the reason for using the code language. But artists have to convey their mystical findings in a tangible way. As a result, the most serious topics of nominal art in mystical texts have been highlighted and the most magnificent works of art in Islamic culture belong to those who have walked the path. Since in the field of art and mysticism we see traces of each of these phenomena in the other, we can examine this relationship in the worldview of mystics and mystical artists. The traditionalists who emerged in the world of modernity with the element of tradition seek to create a world using the world of art and mysticism to guide the modern man from the turmoil of the modern world which leads to the originality of the partial intellect to the general intellect. They believe in the influence of art and mysticism on each other and challenge works of art in a mystical context. Mystics and artists look at all phenomena of existence from the perspective of intellectual intuition and consider them as symbols of God's grace. Among these cases we can mention the soil. In the artistic mysticism of the sage Khayyam Neyshabour - whose artistic experiences are in the light of mystical teachings - we sometimes come across words that he has repeated many times in his poems; A repetition that may be a kind of reminder. Among these words are soil, mud, jar, pottery, and the like, the explanation of which can lead to a broader understanding of the valuable foundations of Iranian Islamic art. Khayyam; First and foremost, he is a man of wisdom, and his poetry finds meaning under wisdom. Therefore, he seems to consider poetry - an imaginative and explanatory expression - and a compound for a specific purpose. But what he does is the product of an artistic will in the form of a quatrain — as a capacity for concise, solid, and complete expression. He makes the most of the symbolic capacities of soil and jars to institutionalize his ruling destination. This article is a post-structuralist approach, written by descriptive-analytical studies with the aim of explaining symbols such as soil and jars in his poems, and the author has tried to collect written evidence with a qualitative approach.Keywords: soil, artistic mysticism, Khayyam, world,jar

Martin Heidegger in his hermeneutic phenomenology, studies a significant level in the phenomenology of Sein and while trying to explain his ontology, he also teaches the possibility of existence to reveal itself. In the Heidegger philosophy, two terms of "world" and "earth" are central issues. The truth is, in itself, inclined to hide and reveal at the same time, but the material or earth always tries to cover the truth. The world is the same desire to reveal the truth, and the earth is what keeps truth from revealing completely. These two are in constant ideas and are among the constant conflicts, which are sometimes a part of the truth that we have been exposed to. Heidegger emphasizes the decisive role of art and is clearly accentuating the relationship between the realm of art and phenomenology. It is in the art that the truth is embodied in portrayal. In this permanent struggle, the face of having an uncovered truth will be opened to tell of the secret. The world is the field of openness, and it tries to reveal itself where ever it can, but the earth is the field of submission and hiding, and it wants to limit and hold it in a position. Impressionist and post-impressionist painting, especially Van Gogh and Paul Cezanne, has always been of interest to Heidegger due to innovative aspects such as selection of subject and color. This style of painting presents well in the introduction of truth in its Heideggerian meaning, and narrates the upbringing of land and the consolidation of the world. Impressionist painting, first draws the attention to its original and innovative approach, and by creating numerous questions about the nature of it, calls the audience's mind to garner in its depth. When the audience looks at an Impressionist painting, the first encounter is a constant clash of color and light, and the shadows are overshadowed. His attention has been drawn and he is amazed by the unexpected color of the landscape. He may immediately ask why the world is pink and why the grass has any color except green. It is here that he is attracted to watch the painting, and in the back of the wonder that is taken by the curtain, it seeks to get acquainted with the elements. The elements purposely removed by the painter to draw the audience to a view of the Sein that had never been able to visit before. In the present paper, two impressionist paintings of Claude Monet, have been chosen and the intuition of truth as the discovery of hidden has been studied. These two paintings, rose-arches and Madam Monet of Monet - in addition to all the surface and apparent aspects that lead to the audience's attention in each impressionist painting, are also of deeper layers, and hidden elements in them, if discovered correctly, have revealed the truth. In the first painting, called the Lily Pond and the Roses, we try to penetrate the depth of the work after pointing to the innovative color, and we watch the universe from the vent of a hole that has been created in the middle of the painting from the roaming of the red flowers around the gazebo. When he spoke about the bridge in 1951, Martin Heidegger said, he counted what brings together and allows the world around him to breathe, in addition to a circle like flowers at the center of the Lily pond painting and red flowers, which brings together the world around him. The painting brings together the cheater of the mortals, the gods, the earth and the world together and at the same time. The view of the Lily pond and the gazebo of roses and the fading light shining on both of them, as if depicting the humid weather after rain and fog on an autumn morning, along with the interweaving of colors and the complexity of the space, in addition to presenting a new color spectrum. Phenomena that at first glance catch the eye of the audience and amaze, has another enjoyable poetic secret behind it that simply does not reveal. This aspect of truth becomes apparent only when we open our eyes to it with astonished and astonished eyes and look at the universe through its lens. This painting has brought the world into the process and reveals in its heart an aspect of truth that is unique in its kind. These intertwined motifs, as soon as you see them and engage with their appearance, slowly unveil their secrets and make you to witness one of the first hours of the creation and production of the universe. Initial birth witness. The interwoven colors and the hole created in the middle of the painting by the rotation of the rose bush on the pavilion seem to be the opening of the universe and a sign of the aspect of truth that has been revealed to Monet. The mentioned hole is a passage that leads to the truth in everyday life beyond things. This painting not only presents a view of a lotus pond and a pavilion of red flowers, but also contains a totality of the universe as if it were at the starting point of its creation, a discovery that helps the emergence and birth of the universe. In the second painting, which is called Madame Monet, we will consider, in a similar way, a hidden layer of exogenous colors and the special lighting. After providing an analytic analysis of the importance of the color of the world and earth, we will study the Monet as a stage between the earth and the world to find out the way through this transition to the universe. The painting surprises the audience in the first look, thinking if he had ever seen a grass of purple and blue. He asks, "How did the painter paint this portrait?" Did he look at the view in front of his eyes while drawing at all? The surprise of the audience reaches to the peak, when he raises the eye and faces a distinctive and different picture of a woman above the hill. He asks, "Has Madame Monet ever been in the imagination of her portrait or has she abandoned herself in the wind direction by ignoring her painter and not paying any attention to how her portrait will look like?" These questions, too, are also based on the firm response, which can be seen in the painting with astonishment. Madame Monet's figure is like a column that, like the same Greek temple that Heidegger intended, reveals the universe and is in a state that leads to the hidden originality of the ascension of the universe. The purpose of this paper is to discover the hidden aspects of these two paintings.

Phenomenology has been one of the most important and influential movements in the philosophy of 20th Century. This movement, which is an exclusive theoretical and practical approach to the phenomena in multiple branches, in the philosophy of Edmund Husserl, called classical or transcendental phenomenology, introduced a method of defining how to give a meaning of the universe in the consciousness and consistency of such a conception in mind; whereas phenomenology in the view of his genius former pupil: Martin Heidegger, another great German philosopher who was not fully committed to him, got shaped in a hermeneutic form (and so called “Hermeneutic Phenomenology”), in such a way of disclosure of existence (for any unique human being; from the beginning of history and all the time and places): Aletheia; the meaning of truth in ancient Greek belief, which Heidegger referred to it. Developing such an idea in analyzing works of art, in fact visual arts such as painting and architecture, Heidegger showed how a work of art can set up a world and how to disclose existence, a process called “Hermeneutic Phenomenology of Art”. However, philosophers and exporters in this philosophical topic, has extensively regarded historical and theoretical parts of phenomenology, but not the practical part, which pays attention to a concrete work of art, as the intended phenomena. The present essay introduces a new interpretation of a famous painting as a case study, chosen from the history of Iranian traditional painting, belongs to Tabriz from the era of Safavid period, in the title of “Fereydoun as a dragon, tests his sons” in such a sample of hermeneutic look of Heidegger to the “shoes” painting by: Vincent van Gogh, in the book of “The Origin of the Work of Art” in the middle of 20th Century, which belongs to the second period of Heidegger's philosophical work, wherein opposite to the earliest period, he was fascinated by art works. The ultimate conclusion can then give a method of interpreting and self-reading all kinds of paintings, regardless of the intention of the artist and the grounds (specified time and place) of the creation of the work of art (painting, in this topic), introducing a way how to set up funds of a world of any human being. And finally in this article, the concept of “Unworld”, which has been procreated from the concept of Heidegger’s famous term: “world” in it’s different meaning, is resulting from the conditions of the disclosure of existence, when the world is not in the mood that it has to be, and has been consolidated in the process of the intended painting’s hermeneutic phenomenology, and beyond that: in other works of art, based on the dasein’s situation in the world.

Today despite of ever-increasing progress of electronic media, Literature is still of a great importance. World Literature with its comprehensive and multidisciplinary nature, has provided the context for many literary surveys. In this regard, there is a need to a center that makes it possible for the nations to convey their thoughts and have interaction with eachother. The present article approaches the importance and goals of  World Literature firstly with a review of the nature of World Literature through different theories. In the end, concisely refers to the role of World Literature on dialogue among civilizations. The article is descriptive analytics and its method of doing is field and library research. According to the research results it can be claimed that World Literature is not only contrasted with National Literature, but also tries to open a way for mutual interaction among different nations through developing knowledge of various world literature. It is therefore recommended to design an architectural space which addresses this issue.

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

The architectural profession and architectural education involve procedures deeply rooted in the cultural, historical, geographical and social context of any country. One of the major goals of architectural education should be training architects who are able to practice architecture based on their understanding of cultural characteristics. Thus today, the significant question regarding architectural education is whether the current system in Iran can prepare young architects to respond to regional/vernacular concerns and design ingeniously in the cultural context of their country. Content analysis method was applied in evaluating architectural education using cultural criteria. First, the definitions of ‘culture’ were studied, and next, three major criteria were defined including ‘world-view and beliefs’, ‘history’, and ‘geography’. Each of these criteria consists of different factors that influence architecture, which were derived using the Delphi method. Second, the current architectural curriculum in Iran was evaluated based on the criteria and factors defined in the first step. In this evaluation, undergraduate curriculums of architectural education in three main programs were selected and studied: The Undergraduate Program of Architecture approved by the High Council of Programming of the Ministry of Science and High Education (1998), and The Revised Undergraduate Programs of Architecture in Shahid Beheshti University (2005) and University of Tehran (2012). The results estimate how much value is given to each cultural criterion in the text of each course description in the curriculum, which is categorized into four groups of courses: ‘architectural design’, ‘history and theory’, ‘building techniques’, and ‘electives’. The results show that the values given to cultural criteria of world-view, history, and geography are not consistent across the three programs and that the curriculums lack an overall proper consideration of cultural criteria. Each of the four categories of courses offers a good capacity to include cultural criteria as rendered in course descriptions. Revision of architectural education programs with a content analysis approach and developing new courses offers an opportunity to compensate for the shortcomings of the current educational system according to cultural contexts.

This article tries to explain and describe the role of body in creation of art, and especially the painting as one of simples of art works. This writing consists of introduction and two sections. In introduction, we have been tried to present Merleau-Ponty's Phenomenological attitude in order to know the place of his Phenomenological attitude to art. In first section, Perception, the role of perception and its narrow relation with body for knowing world has been considered. Second section namely Art and World of Perception considers the role of body in genesis of art and as well as it has been referred to Cézanne's paintings. Also this section consists of two secondary parts, that is, "body and painting" and "language and painting" Merleau-Ponty believes that we cannot know how mind can do painting, but it is artist who does painting by adding his body to world. He criticizes Cartesian philosophical thought and scientific thought in his articles such as Eye and Mind and Cézanne's Doubt and other writings. He sees unity between artist and his body and world. Best example for this unity is painting.

Art, and especially the art of ancient Greece, plays an important role in Martin Heidegger’s later works. The first work in which he separately discusses the requirements of his philosophical thinking about art is The Origin of the Work of Art. His analysis of Greek art- referred to by him often as the “great art”- is one of the most brilliant and influential examples of the philosophical thinking on art; nonetheless, and instead of being an image of the Greek art, his interpretations tend to show how Heidegger traced his philosophical concerns in that art. Indeed, one could regard Heidegger’s interpretation of Greek art to be another version of authentic art. In this article, on the basis of what Heidegger offers in The Origin of the Work of Art especially about Greek art and through searching his other works, the characteristics of this sort of art are discussed by classifying them into 5 basic categories: namely, the connection with disclosure of being and the artwork as the truth of being; the struggle between earth and world in the artwork; establishment of the world and the artwork as the establishers or constituents of a nation or a community; the reception and common conservation of the artwork; the pre-aesthetical or anti-aesthetical condition of the artwork.

“Phenomenology of film” could be defined in the field of philosophy of film, which itself is a growing subfield of contemporary philosophy of art. According to current essay, it is clear that Hermeneutic- Phenomenology, declaring by Heidegger and expanding by Gadammer, has more possibilities for thinking in contrast to the classic Phenomenology, growing by Husserl and many of his followers. Hermeneutic-Phenomenology in the line of the unity of Heidegger’s thought shows the unity of the relations between man and Being in a resonating way. Attending phenomenology of art in Heidegger reveals proper notions (such as world) which could be used for phenomenologically thinking about the truth of cinema. Gadammer, too, applies Heidegger’s phenomenology of art as model of understanding, but not exactly going on his way. Some inquiries using phenomenology for film theory such as Allan Casebier, Daniel Yacavone and Malin Wahlbergs attempt to show not enough succeed, because of the problems such as lack of illuminating the cinema in itself, lack of paying attention to the cinematic capacities of other theories, and lack of passing the current subjective way of thought. Criticizing many views about Heidegger and film also shows rare attention to the way in which Heidegger suggests to think, and instead using Heideggerian concepts to define cinema. Some of these views including many philosophical essays about thin, red, line are only attempts to show probable philosophical as well as poetic capacities of cinema and not examining and declaring the way these capacities absolutely may be. While some other writers as Robert Sinner brink pay attention to cinematic technique more and try to clear a Heideggerian point of view according to his opinions about technique, arts, poetics, etc.; he also cannot explain how the cinema has the ability to be poetic, while his interpretation about Heideggerian poesies is awfully wrong. But, followingHermeneutic-Phenomenological way to think about cinema, attending inspirations from Heidegger in concepts such as technology, world, Dasein, world-picture etc. helps to enclose the truth of cinema. This essay comes close to cinema in a hermeneutical manner, to see cinema, movie or film -as what it really is – and not from the viewpoint of its theories. Therefore the authors explicated Heidegger’s main viewpoints about Gestell, Gebild etc. and came close to the truth of it. Although this may not be enough, and the cinema should be interpreted according to its history. Finally, using Gadammers term, game, unfolds cinema as a technological world, sharing by both filmmakers and viewers, considering a determinate culture - a definitive world - for ordinary viewers of movies, who look for entertainment in watching motion pictures. This article does not necessarily deny the probable capacity of movies for representing several thoughts and values - regarding Heidegger’s authentic Dasein or world - after the mentioned conditions.

“Phenomenology of film” could be defined in the field of philosophy of film, which itself is a growing subfield of contemporary philosophy of art. According to current essay, it is clear that Hermeneutic- Phenomenology, declaring by Heidegger and expanding by Gadammer, has more possibilities for thinking in contrast to the classic Phenomenology, growing by Husserl and many of his followers. Hermeneutic-Phenomenology in the line of the unity of Heidegger’s thought shows the unity of the relations between man and Being in a resonating way. Attending phenomenology of art in Heidegger reveals proper notions (such as world) which could be used for phenomenologically thinking about the truth of cinema. Gadammer, too, applies Heidegger’s phenomenology of art as a model of understanding, but not exactly going on his way. Some inquiries using phenomenology for film theory such as Allan Casebier, Daniel Yacavone and Malin Wahlbergs attempt to show not enough succeed, because of the problems such as lack of illuminating the cinema in itself, lack of paying attention to the cinematic capacities of other theories, and lack of passing the current subjective way of thought. Criticizing many views about Heidegger and film also shows rare attention to the way in which Heidegger suggests to think, and instead using Heideggerian concepts to define cinema. Some of these views including many philosophical essays about thin, red, line are only attempts to show probable philosophical as well as poetic capacities of cinema and not examining and declaring the way these capacities absolutely may be. While some other writers as Robert Sinner brink pay attention to cinematic technique more and try to clear a Heideggerian point of view according to his opinions about technique, arts, poetics, etc.; he also cannot explain how the cinema has the ability to be poetic, while his interpretation about Heideggerian poesies is awfully wrong. But, followingHermeneutic-Phenomenological way to think about cinema, attending inspirations from Heidegger in concepts such as technology, world, Dasein, world-picture etc. helps to enclose the truth of cinema. This essay comes close to cinema in a hermeneutical manner, to see cinema, movie or film -as what it really is – and not from the viewpoint of its theories. Therefore the authors explicated Heidegger’s main viewpoints about Gestell, Gebild etc. and came close to the truth of it. Although this may not be enough, and the cinema should be interpreted according to its history. Finally, using Gadammers term, game, unfolds cinema as a technological world, sharing by both filmmakers and viewers, considering a determinate culture - a definitive world - for ordinary viewers of movies, who look for entertainment in watching motion pictures. This article does not necessarily deny the probable capacity of movies for representing several thoughts and values - regarding Heidegger’s authentic Dasein or world - after the mentioned conditions.