فصلنامه کیمیای هنر
پیاپی 38 (بهار 1400)

The process of the emergence and formation of a work of art has always been the concern of artists and researchers in art studies. The creation of artwork has also been the subject of educational programs due to its technical aspects. This underscores the importance of studying the path of the creation of a work. This is possible through the genetic criticism and its methodological feasibility. Because the criticism, also called the embryology of the work, makes possible the process of genesis and text formation by focusing on all the extra-textual and intra-textual aspects of a work, relying on objective observation and material documentation. This article intends to explain the method of this critique in the field of painting studies. Thus, Francis Bacon’s painting “Three Studies for Figures at the Base of a Crucifixion”, 1944, is studied using the model of Genetic criticism. And these questions are answered: How can the method of Genetic criticism be used in the study and critique of visual arts? What factors affect the quality of Genetic criticism of paintings? Because Bacon has a different genetic behavior, leaves few “pre-text” that affect the quality of the genetic document.

Stage Description or, as Michael Issacharoff says, Didascalia, is a unique characteristic of Drama which has been part of plays from the beginning of the tradition of playwriting in mankind’s history. Didascalia in modern plays has found a complex function, helping playwrites as a technical tool as well as creating a richer vision of the characters, transfer plot in a betterr way, showing the changes in each scenes, and ... In present days, the importance of the function of Didascalia has convinced playwrites to give an equal place and value to it, as they give to dialogues and they tried to pay attention to the stage description as they do for other elements of drama. Among modern playwrites who had used Didascalia in large scale for transfer his ideas to the audience, was Tennessee Williams (1911-1983). He wrote many long plays as well as short ones and became a recpectable artist and playwrite, using his knowledge in painting, music, photography, cinema and sculpture for creating more interesting and more complex plays. This paper aims to investigate the style of Tennessee Williams in using Didascalia based on transtextuality, introducing the quality of stage description or Didascalia in his short plays. This research hopes to encourage Iranian playwrites to know and use Didascalia more than before, not only as a technical element, but also as a fundomental one in a play which could led audience to a better understanding of the play.

In terms of specialized vocabulary, origami is a pattern with a fixed structure created by smooth folded surfaces. Today, the origami art pattern, or folded paper, has become a source of inspiration for architects, designers, and researchers. The definition of beauty in specialized lexicography includes the evolution of rational features, sounds, and concepts, and in a broader sense examines the methods of feeling the environment and the individual’s positionwithin space. The most important factors in the study of aesthetics are the observer and its position (receiver), architecture or work of art (sender) and the environment or context of the design (interface). How this connection between original Japanese origami art as an emerging phenomenon in modern architecture and design and aesthetic concepts to improve the perception of this structure is a matter of research. The aim of this study is to identify the degree of adaptability of aesthetic criteria from the perspective of Western theorists as an important factor in understanding the pattern of origami architecture. The research method of this paper is a logical argument in order to match the aesthetic criteria with the example of origami buildings, the results of which have been studied and analyzed with a qualitative approach. The results of the research show that aesthetic characteristics are applicable to the sample of origami buildings, but the compliance and generalizability of the criteria are not the same. The most obvious compliance is related to the category of spatial quality criteria. Then, in the order of complexity and diversity, proportion and correct relationship between components and generalities and modulus and modulus, respectively, are in the next position. The lowest adaptability is related to the standard category of human scale.

Travelogue, the narrative of tourists, is one of the various features of the host lands. The description of destination communities is generally done from the point of view of the tourist and based on backgrounds, history records and some mental stereotypes. Attention to Iranian carpets in the travelogues of Western tourists has always been accompanied by a kind of judgment about its uses and quality. So far, no definite study has been made as to what the origins of such judgments are and how such descriptions should be understood. The main issue of the present study is to recognize these views in the face of Iranian carpets during the Safavid and Qajar periods. The purpose of this article, in addition to understanding the views of travelogues in the Safavid and Qajar periods about Iranian carpets, is to explain the logic and attitude of them. The present study was conducted by descriptive-comparative method and Orientalist approach of Edward Saeed and Colaizzi method was used to analyze the data. The results showed that the description of Iranian carpets in Safavid travelogues was associated with “ For The Benefit Of The Receiver”, “ Oriental Inferiority”, “Setting The West Off Against The Orient” and “ Domestications Of The Exotic”. The description of Iranian carpets in the travelogues of the Qajar period, in addition to the mentioned components, is mixed with “Western superiority”, “The East Identified By The West”, and “Theoretical Truth”. According to the results of this study, the low interaction of tourists with the general public is the reason for the lack of “ Western superiority” component in Safavid travelogues. It has led to the formation of the components of “Theoretical Truth” and “ The East Identified By The West”, respectively.

The art of Greek sculpture is the most complete and appropriate visual form of expression of the divine in the Greek art religion and similar types in the earlier and later religions. In Greek sculpture, form and content are in balance and interact with each other. The Spirit and the material have no dominion over one another. The spirit (divine) recognizes as its proper home the human body, and this self-consciousness is expressed and manifested through the “work” of the artist. Thus, the ideal gods of religious art, born in Greek epics, found an objective and concrete form in the art of sculpture. In art of Greek sculpture, the Spirit gives up its former savagery and finds civilization suitable for its finite freedom. Thus, in Greek sculpture, there is a union: between God and man, which makes each need another. And the Greek man feels at home because of his direct sensory connection with the divine command. The art of sculpture, in collaboration with architecture (temple), plays a unique role in the formation of the “nation” in classical Greece. In addition, God’s embodiment in Greek art religion provides the basis for the emergence of man-Christian God. However, the art of Greek sculpture in expressing the divine order is inherently flawed, and this inadequacy is due to the limits of art in the whole/art in general.

Relation between pleasure and Beauty is one of the most durable rations in Art philosophy and esthetic arguments. Philosophers’ Historical thoughts, from Plato and Aristotle to Kant, Croce and Heidegger, are the solid reasoning in this claim. Muslim thinkers got some basics from Greek wisdom (Hikmat) in translation movement, and by creative thoughts and critic mind and with being affected by Islamic teaching blew a new sprite to them. For example Khaji Nasir has called 8th article of Asas al-Ightibas “Assaertion” but relied on publicity and sermon in Quranic Verses there: (16: 125- 126); “call to the way of your Lord with wisdom and godly exhortation and have disputations with them in the best manner.”  In this article, pleasure and its relation with beauty and virtue (Hosn) is discussed, As we see, in this verse “goodly” (Hasana) is an adjective for exhortation, and “the best” (Ahsan) for disputations. This meaning beside scholarship discussion of Khaji Nasir about mimesis and imaginative creation, which mimesis is the basictheory in art philosophy, have been mentioned in deep arguments about aesthetic in Islamic civilization. There, he has presented an exact definition on pleasure, and then has explained it and its necessities, and the conditions and factors which affect in creating it (like imagination and ambiguity (fancy) and …). He mentioned the role of pleasure in creating beauty sense not only in chapter 8 but also in 9th chapter in explaining imaginative creation and mimesis and perception of human Aesthetics. He emphasizes that people have vast tent to mimesis and imagination because of nature pleasure of mimesis. Then he mentions that poem makes aesthetical perception of human which causes pleasure and wonder of sprit (Nafs). This article will discuss the relation between pleasure and beauty which is the basically discussion in Art philosophy and Aesthetics in Khaji Nasir’s view.