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

Decorations have always been an integral part of Iranian architecture, which in some historical periods has been considered insignificant and sometimes very extreme in its use. Architectural decorations in the Qajar period have changed a lot due to the connection of this period with the West and imitation and influence of Western art, and many architects travel to Europe and Western countries in this period. For this reason, the Qajar period is considered the beginning of modernity in Iran. Western art and architecture in this period is slowly penetrating into the Islamic architecture of the Qajar period and this influence is gradually increasing. The purpose of this study is to identify the ornaments and additional elements to the Islamic architecture of Iran. The research method in this research was analytical and descriptive and the data collection method was documentary and library. The results show that in this period, elements such as gable roof, columns at the entrance, intricate bedding, mirror work, etc. have been added to the Islamic architecture of the Qajar period. The period is yellow and orange. The decorations in this period have decreased compared to the previous periods, especially the Safavid period, and in most of the buildings of this period, all types of decorations can be seen together.

Achieving the art Essence requires examining theories formed around the history of the art. Imitation. "Mohaakaat" (mimesis) is one of the most important fundamental and key terms in the philosophy of art. By comparatively examining the intellectual foundations of the Greek thinkers, Plato and Aristotle and the Iranian-Islamic philosophers, Farabi and Avicent, we seek to understand the role of philosophers and the extent to which this theory influenced the nature of art. The research method in this research is descriptive-analytical and its sources are library and documentary. It is concluded that mere imitation of the sensibles is devoid of art and that imitation, combined with simile, allegory, metaphor, active imagination and a new process of creation, causes pleasure and enjoyment in human and and give and enduring and transcendent art that is proved in a comparative study of the views of Western and Iranian Islamic thinkers.

 Originality and authenticity of architectural works have been examined from the legal, artistic, restoration of historical buildings, and architectural theory viewpoints. The issue of originality in the contemporary architecture of Iran has been the focus of many specialized and public journals; however, in scientific research’s discourse, criteria are vague. Therefore, the question is what are the criteria of originality and authenticity in contemporary architecture? To scientifically enrich the discourse of originality, the Tehran Museum of Contemporary Art, one of the most important contemporary projects in Iran, was chosen as the case study based on the proposed criteria

This research aims to clarify the differences and similarities between the terms authenticity and originality and to propose criteria for measuring them in contemporary architectural works.

This research employs mixed interpretive-historical strategies and logical reasoning through consultation with bibliographic data.

The “Original” scheme has exquisite features that have not been seen before. An architectural work can be named “Authentic” if it has the following features: 1- imitation of elements or idea, 2- presentation of creativity and innovation in its composition, 3- alliance with and influence on the context and society, and 4- explicitness and honesty. The comparison of the case studies in terms of aspects of form, spatial organization, circulation, and the materials revealed that Tehran Museum of Contemporary Art has not presented its distinguished elements of form for the first time, therefore, it cannot be considered  “authentic” work from this point of view. Despite these outward similarities, four other criteria can be identified in the scheme of the museum which can give it eligibility to be considered “creditable”.

Theosophical criticism has been developed from the Iranian thinker's and sages' opinions. There are scattered discussions and rules about art and the artist in the views of Iranian thinkers and philosophers. The theosophical criticism is criticizing artworks by these criteria; extracted rules and regulations from ancient Iranian mystical philosophical wise sources. The lack of written sources on art criticism using the views of Iranian sages and mystics highlights the need for this research. In this research, two questions have been answered: First, what is the concept of imitation of an artwork expressed from the real world based on theosophical criticism? How is the similarity of artwork with the eternal world expressed through the lens of theosophical criticism?

This study attempts to present Iranian scholars' views in art and art criticism on the issue of compatibility and similarity of work with the world. This article deals specifically with the similarities between a work of art and the universe (whether modeled on natural resources or the eternal universe.).

In terms of purpose, this study is a kind of basic theoretical research and in terms of nature, it is a qualitative study using content analysis.The method of data collection in this study is bibliographic. The sample of this study is the poetic works of Iranian mystics and sages, which belong to the post-Islamic period from the texts of the fifth to ninth centuries AH.Due to the multiplicity of mystical wise sources, five divans of poetic texts were selected as a sample through the purposive sampling method.

The results of the research have shown that the closer the work of art is to the source of nature or the more it is in harmony with the world of creation, the more beautiful, ideal, and better it is.The more an artist can align his work with the real world using the example of the universe, the more artistic he is.The artist must be a man of humor and imitation. He must have the power to draw and illustrate the real and strange world.

Luster is an innovative decorative technique applied in the Islamic era. The imitative technique of luster glaze is the result of efforts of some potters to imitate the visual features of the earlier luster. The two techniques differ in their production methods, but have many similarities in terms of physical characteristics of the works, including color, pattern, and in some cases, form. Such similarities have led to misrepresentation of luster imitated pottery in some cases with the eralier products of this kind. This descriptive-analytical study tries to identify the characteristics of both methods and to correct misconceptions. To collect the information for the research, library method has been applied and the results show that luster imitated pottery was the result of the desire and tendency of Nishapur artists towards producing works similar to lustered pottery of the Abbasid period, however done in different ways due to the lack of access to luster production knowledge. At the beginning, potters tried to fully imitate the appearance of the original luster samples, but similarities between the works diminished over time and the imitation became limited to technique and color of the products.

The real art is supposed to be original; actually authenticity of artworks always play important role in understanding of art. Therefore the work which is a simple copy, could not consider as a valuable artwork. Besides, imitation and forgery can not reflect the authenticity of the art work, since forging in definitions indicates the absence and negation of value. Forgery’s meaning determines only by referring to the notion of authenticity, and because it is intended to deceive in this action, it is in contradiction with the meaning of authenticity. This research describes some of the features of copy, imitation and forging in relation to the concept of originality. It also answers the question of whether the artist can create original artwork by copying a painting work or not. According to the studies, copying in contemporary art is a new form of art that appears in different forms. For example it changes in content or appearance of the work, and if the expression of new ideas is presented in the view of contemporary artists, so that it can be an original work. In spite of, the action of forgery intends to deceive people but if it preserves the originality and authenticity of the earlier works, it can be considered a genuine work of art. Concerning the concept of copying in the contemporary world, may not be possible to exactly determine. On the other hand, due to the ability of artists to access the Internet and the advancement of technology distinguish between impact and coping has also been issue. As many arts resulant each other, it should be consider that visual arts sometimes causes similarities between the images two artists (in terms of ideas or visual elements), which are similarity in some cases are inevitable because in many resemblances, the artists did not know the images of each other. The problem of similarity seems to always be and will be, and sometimes it would not be considerd copy. Copying is not primarily forgery, since copying of the art works has always existed in the history of art which importance should not be ignored because the tradition has pursued positive goals, for example, educating students and accessing famous and valuable works before the invention of the camera. In conclusion, If a new ideas is presented in the view of the contemporary artist, in such a way that authenticity be considered, copying has not purpose to deceive the audience and the originality of the earlier works can be considered a genuine work of art.Therefore, in the present article, it has been tried to mention the role of imitation and forgery concepts separately by introducing samples of some artists’ works. Research methodology is descriptive analytical method with library studies and using Internet resources.

The present study, considering the need for the analytical study of the evolution of traditional Iranian plays, investigates the effects of social, political and cultural developments on the Iranian imitation ceremonies in the Pahlavi era, a period that has been less considered by scholars in this field, and seeks an answer to this question: What are the influences of the prevailing social and political conditions and cultural developments of this period on the stories and the way of performing the imitation ceremonies? So for this reason; Sociological analysis of documents, especially recorded texts, left over from joyous ceremonies in its various forms, some of which were recorded in the Performing Arts Documentation Center in the Shahr Theater Library, some have been documented by previous researchers in this field, and some have been acquired from personal archives. This study, identifying and analyzing the changes and developments that have taken place in the stories and the way of performing various types of traditional joyous ceremonies in this period, in the end concludes that: During this period, traditional joyous performances experienced their short peak time along with the demands of that time and then declined and even some of its genres - such as Siah bazi - at times have been considered as a serious competitor to the imported theaters in Europeanstyle theaters. Accordingly, based on the conditions and suggestions of the time, the interested topics and situations of the audience and social orders, and sometimes with the support of the government, in choosing stories to perform in homes and theaters and using comedy tricks and techniques, received changes and developments according to time and audiences’ demands and sometimes under the influence of imported theater. But despite the effort by those involved in joyous performances due to the tendency of the Pahlavi government and the desire of society to modernize and the loss of natural grounds for the growth and development of ceremonies, gradually began its decline and in the late Pahlavi era had a very bad situation. In addition, in this article, due to the researcher’s access to the documents which have paid less attention, some tricks and changes in stories and in texts of joyous plays are presented for the first time. It is hoped that the findings of this study will be effective in identifying the ambiguous history of Iranian joyous performances and will be used by play writers who are looking to revive and modernize these dramatic genres.

In this paper, it is tried to state the problem of representation and architectural representation through its procedure for gradual creation in architecture and then according to scholars and to obtain the effect of this concept in the process of architectural facts the concepts are presented. Then, it is referred to its definitions is also provided from the perspective of semiotics. In addition through a deductive view aiming to clarify the fundamental differences between types of architectural representation in Architecture history, three fundamental roles in the architectural representation as mimesis and imitation, architectural representation as abstraction and architectural representation as simulation are described and examples are cited for each of them. In the end, because using Umberto Eco's theory in this paper and his semiotic perspective to Architecture, by a qualitative methodology and with an interpretive approach in architectural codes, the comparative tables are provided, and to clarify the relationship between the Architectural representation and Architectural codes. In conclusion these comparative tables are separately classified in three groups of new meanings, so a variety of architectural representation roles according to Eco's semiotic perspective in diverse historical periods in architecture are explained until finally the Architectural representation that is considered in three new groups in Eco's theory, as a result of this research abtained.

The realistic acting of an actor (actress) relates closely or immediately to his (her) worldview.
Realistic acting always depends on the quality of the actor's (actress's) perceptual. The world or his (her) life is perceived by an actor (actress) as a human being. The world which is always the possibility that turned around. So, what gives identity or name to the realistic acting not only doesn't necessarily provide a fact which is not palpable, but also it is the actor's (actress's) imagination and it produces a palpable reality.
If we compare the reality of the everyday with reality of our art the results conclude that daily life is quite extensive, aimless, and not rhythmic; it is the unbalanced because everyday life lacks unity of time, place and topics.
But realistic acting, placed in a frame in which all true components are sequenced, limited, targeted and balanced.
Also, this sequence and balance is formed by imagination or illusion that has associated with perception and understanding of social behaviors from specific courses, specific location and specific culture of human being. Therefore, realistic acting is not merely the representation of life in detail but it is an imagination or illusion formed by actor (actress).
This is the actor (actress) who sequences a real matter by his (her) narrative of it, makes cause and effect relationship between its components and emphasizes on some its components.
Indeed, the realistic actor (actress) - by emphasizing on a real thing – converts it from subjective matter to objective matter.
Comparing the different views and approaches toward methods of treating the reality in realistic works, the author of this article tries to study the part of fiction and imitation in realistic acting. A comparison between «active fiction» and «passive fiction» in realist acting leads to define the function of each one in achievement of the actor in creating a character and interpreting his role.
What is the relationship between reality and fiction in art? In realism, is an artistic creation considered from scientific or fictional point of view? In his identification process, is a realistic actor made as a «discoverer» or an «inventor»? Is imitation the base of the realist acting and could it be achieved only by observation and comparison? Is it possible to have a combination of fiction and reality in realist acting? Undoubtedly, the study of the theories of Stanislavsky, as the greatest theorist in realist acting, and divergences between his and his follower’s, will include a major contribution of this article. It is certain that imitation, contrary to popular opinion, has no value in realist acting; it is the realistic fiction that forms the base of acting. None of the well-known theorists of realism in acting deny the fundamental role of the fiction in a realist-acting. But the dispute over the quality of such fiction: it exposes the individual characteristics of an actor in his real life or the prominent features of the role he play

Assistant Professor, Faculty of Architecture and Urban Planning, Hakim Sabzevari University
According to general opinion, “imitation” is considered as the opposite of “creativity”. In architectural design, which is based on creativity, the same perspective is, likewise, prevalent to some degree. Some instructors imply upon students that imitation opposes creativity by issuing statements such as, “Be creative, and do not imitate others”. This paper, by “conceptualization” and logical reasoning of theories from a psychological viewpoint of imitative learning, traces the creative act in the right-brain from its imitative inception in the left-brain hemisphere, postulating that “proper imitation” is the motor of “creativity”. The concept of “tacit imitation” is then presented in the paper, and its essential role proved in the transfer of “tacit knowledge” of design skills from the architecture educator to the learner. Finally, the path for further research is indicated by suggesting questions about the “proper imitation for learning architectural design.”

Since production is difficult and imitation easy, especially in fields such as architecture whose consequences are revealed within time and are hidden, the objective-subjective quality of design and aesthetics will be ignored. Designs made by students in order to produce knowledge and improve profession under professors’ guidance in an academic environment manifests practical outputs in the contention of production and imitation. In this article, identifying aesthetics and explaining balance in the contention of production and imitation will be addressed by reviewing documents of Iranian academic designs through following questions: Is there a common aesthetic as a rule of aesthetics among students’ designs? What is it? Considering the prevalence of case study reviews in today designs of students, are these potential aesthetics rules produced by conscious or unconscious imitation of three traditions of Iran, Islam and West or a production based on them? This goal is achieved by a bi-section system of formal-mathematics and interpretational-normative logical argumentation guideline.
Results show that in the view of academic designers, creating complexity by a limited number of simple formal variables that produce association using light and warm colors as porous, horizontal, and expansive, with an urban sense and relied on natural or human geometry, soft articulation, rectangle and axis will be appreciated. In this aesthetics, explicit imitation is insignificant, but two errors in “localization” and “what itself has” are obvious for which 5 main reasons can be considered. As a result, the contention with the principle of implicit copy or imitation has been ignored and it seems that powerful conscious production connected to the current and historical background of Iran may be achieved through theorizing, awareness, and distinguishing different types and addressing the crisis (not denial).

The pertinence of Martin Heidegger’s decisive questioning of the “meaning of Being” to the manifold problems of our “dis-oriented ” world can be best elucidated in terms of its emphasis on the latter’s radical finitude. Indeed, Heidegger came to transcribe “Being” as “Being” in order to better highlight the ontological contingence of the said world. One whose ultimate ontological foundation, according to Heidegger, is “nothing” other than the “Ab-ground” of “Being” understood as its “abyssal groundlessness”. In the texts of the postwar period and, notably, in the controversial 1949 “Bremen Lecture” entitled “The Danger”, Heidegger explicitly identifies the “Abground” of “Being” with the notion of “Death” conceived as the “Hearth of Being” (“Das Gebirg des Seyns”). In order to think “Death” in such a manner, Heidegger modified the notion of “World ” which had played a key role in his influential lecture on “art” delivered in the mid 1930s. In the wake of Heidegger’s own insistence on the “identity” of the “Origin of the Work of Art ”and “Truth” as the “Ab-ground of Being” we shall further argue that only an “art” practiced as “Poetry” (“Dichtung”) could purport to break with “mimesis” and “be-speak Death” as the “Hearth of Being” as well as the “Open” of the dispensation of its “safeguarded essence”.