نشریه فردوس هنر
پیاپی 3 (زمستان 1399)

One of the important issues in the philosophy of art regarding the relationship between art and ethics is the relationship between aesthetic value and moral value in a work of art. Among the analytical philosophers of art, there was a trend that saw a positive relationship between the "moral value" and the "aesthetic value" of works of art. There is a new movement that presents a kind of new moralism for art's moral evaluation. This movement is a protest against “radical moralism” and also its supplement. In fact, radical moralism (also, known as "moralism", "extreme moralism" or "unlimited moralism") ignores all aesthetic values in favor of moral values. Noël Carroll formulated the first formulation of the moderate view (moderate moralism). As Carroll himself points out somewhere, "moderate moralism" is in fact a departure from his earlier view of "soft formalism." Based on "soft formalism," Carroll believed that although the moral aspect of a work of art was not related to its aesthetic aspect, there was no reason not to consider the moral element. Therefore, the work of art can be considered a better work due to the presence of "moral excellence" in it. In "moderate moralism," Carroll not only allows the moral evaluation of works of art but also seeks to prove the relationship between the moral aspect and the aesthetic aspect of the work of art. At the same time, Berys Gaut formulated the first version of his vision (ethicism). "Moderate moralism" and "ethicism" have in common that moral evaluation does not apply to all works of art and should be considered in relation to works for which such evaluation is possible. In the field of sampling for moral evaluation, Carroll turns to works of narrative, while Gaut discusses some of the other representative arts, and this leads to the "ethicism" introducing a wider range of works into moral evaluation. Both versions of the moderate view have been repeatedly criticized in various ways. Meanwhile, others have provided versions of moderate moralism. Among which only Matthew Kieran's view (most moderate moralism) is striking. From the point of view of moderate moralism, one can find a model for the moral evaluation of works of art that, in addition to the moral values of the work, also takes into account aesthetic values. This paper, using the library collection method, first, explains Carroll and Gaut moral evaluation models and then, evaluates and compares them. The results of this study show that the similarities between Carroll and Gaut's moral evaluation models are: a. Moral evaluation is not allowed in all kinds of arts; b. Using “insofar as" and “all things considered" principles; c. Believing in pluralism about the values of the work of art; d. Considering aesthetic values along with moral values; e. Provide an argument based on “the merited response argument”. Also, the differences between Carroll and Gaut's moral evaluation models are: a. from the perspective of inclusion of examples for moral evaluation, in descending order, Gaut (any work that has a moral aspect related to the prescribes of the work) and then Carroll (any work whose moral aspect is related to attracting the audience) are included; b. After the conditions are met, in Gaut's view "always", moral goodness/evil is considered aesthetic goodness/defect, but in Carroll's view "sometimes", moral goodness/evil is considered aesthetic goodness/defect; c. In Carroll's view, “an audience due to the moral features” plays a more important role than Gaut's. In general, Gaut's model is superior to Carroll's model for several reasons: a. It has a wider range; b. Contrary to Carroll's view, it is inconsistent with "moderate immoralism"; c. Unlike Carroll's view, it is more consistent with non-moderate moralist perspectives; d. The “an audience due to the moral features” has no key place in the argument;  e. In formulating an argument, he uses "always" instead of "sometimes"; f. He Has more emphasis on the “insofar as" and “all things considered" principles; g. It is more in line with local perspectives. Proving and accepting the relationship between the moral and aesthetic aspects of the work can be the basis for entering into other topics such as justifying or rejecting censorship, how the moral impact of the work on the audience, how to legislate based on ethics in art and comparing moderate views with other philosophical and mystical views which were not reviewed in this article and are considered as the future of this article.

Since the arrival of the Aryans on the plateau of Iran and the establishment of the three tribes of Medes, Persians and Parthians in different parts of the land and also due to their ethnic and cultural spread that covers a wide area from Europe to Siberia and the Middle East and India. The maturation, formation, and expansion of beliefs, cultural traditions, and myths began increasingly in this land. These new developments, in combination with what the first inhabitants of Iran had with them, led to the formation of a set of cultural, artistic, legal, ritual and literary elements that, despite the above-mentioned developments, are a rich and strong chain. Many of the mythological and religious concepts of pre-Islamic Iran, despite the widespread invasion of Muslim Arabs, did not disappear and survived through political developments and the arrival of the new religion of Islam in Iran, with a color and smell compatible with the concepts of Islamic jurisprudence. One of the connecting perspectives of Islamic wisdom and pre-Islamic Iranian thought is Khosravani's wisdom. A way in the intellectual organization of the Iranians of the Old Testament that in the Sassanid era it took a coherent form and the fusion of myth, history and religion became a system based on monotheistic, moral principles and philosophy of life. One of the revivers of Khosravani's wisdom is Sheikh Ishraq, who laid the foundations of his wisdom of illumination based on Khosravani's wisdom and while explaining and expanding it, he dealt with the concepts of his legal structure. It is noteworthy that the legal structure resulting from this two-way relationship has led to inspiring drinking fountains for writers and illustrators, and in this way, many aesthetic phenomena related to Iranian paintings have manifested and gradually become stable traditions. They came. Fundamental issues such as imagination, the world of example, manifestation, allegory, and the like, have paved the way for the emergence of extraterrestrial forms such as angels, diffused light, demonic beings, jinns, fairies, hybrids, and other wonders. Accordingly, many images, based on their theological and theoretical foundations, find common ground with the ancient mythological forms of Iran. Created that continued to exist during the post millennia. In this way, the works created in the field of visual arts, such as volumes, stone carvings, buildings, rhytons, murals, illustrations, textiles, etc. as the crystallization and embodiment of this cultural organization, can be seen and studied. One of the prominent features of Iranian visual arts is its reliance on religious and ritual myths and principles. Therefore, the issues raised in religions and religious rites have been extensively portrayed for a higher explanation to the followers as well as the memorial aspect. Of course, the approaches of the rulers and their ruling tastes have had a great impact on the formation of artistic contexts of each period; But the spirit of works of art based on intellectual and doctrinal themes has always been current and enduring. This course has appeared in the post-Islamic period in the form of paintings in manuscripts and industrial arts. The present study, with a case study on the art of the Sassanid and Ilkhanid periods, including topics related to the iconology of the drawings in question, the hermeneutics of literary and historical texts and their translation into images, the morphology of sculptures and composite figures, text -Research of Iranian mythology in pre-Islamic and post-Islamic periods, intertextual etymology of the arrival of foreign art currents and their themes in post-Islamic Iranian art and dialectics of time based on visual style in order to achieve a synthesis between ancient Iranian art and tradition Iranian painting is Islamic. The overall purpose of this study is to achieve a specific context in imaginative and miraculous characterization in Iranian art, based on the tradition of illustrating metaphysical beings with a comparative comparison approach between pre-Islamic and post-Islamic Iranian art.What has been discussed and focused in this study includes the meanings arising from the origins of the tradition of illustrating metaphysical beings in Iran with a special and comparative approach to Sassanid art, as a representative of pre-Islamic and patriarchal Iranian art and literature, as an important part of art. And the literature of the post-Islamic era. This study aims to achieve a specific context in imaginative and miraculous characterization in Iranian art, based on the tradition of illustration of metaphysical beings with a comparative comparison approach between pre-Islamic and post-Islamic Iranian art and by selecting a selection of works of art and The fictional, theological and religious texts left over from the Sassanid and Ilkhanid periods have been based on historical studies and have explained the semantic foundations of this tradition by classifying the miraculous manifestations in the mentioned works. The present research is of a fundamental type and is carried out in a descriptive-analytical method based on a comparative and historical approach. Data were also collected based on library and electronic study. The result is that the supernatural beings depicted in the art of the mentioned periods, based on theoretical foundations, myths and rulings rooted in the intellectual and scientific traditions of ancient Iran, and in the form of artistic contexts of each period of art. Iran is manifested in a way.

Islamic architecture includes sublime meanings and sublime themes, one of the manifestations of which can be found in the shrine of Astan Quds Razavi.Signs are always accompanied by interpretation; Thus, the semiotics of the science of interpretation is the sign of the "sign" which means interpretation. Therefore, the sign is not fixed and may not be a sign for another person, so the sign is a symbol that must be discovered. Meanwhile, the famous semiotician Pierce, the contemporary philosopher, pays more attention to visual semiotics. One of the most magnificent visual signs can be seen in the shrine of Astan Quds Razavi. Azin is closed. Humans have always sought to find the truth in existence, and these beliefs, ideas and thoughts over time have been adorned in the form of images and have become symbols, signs and symbols. The codes of the visual elements in any form and color can be explained and interpreted, because the meanings and concepts of these signs are the result of sensory-visual perceptions as well as the birth of ideas, mental ideas, thoughts and imaginations of the artist. One way to study and understand the themes and mysteries of these images is to approach the system that governs the laws that govern the structure of visual language, that is, the science and tools of semiotics that are related to signs. In fact, the discovery of related mental concepts is associated with individual or group communication in society and its recognition is possible through cultural symbols in any civilization.There are many signs in the universe that have unique concepts and meanings due to their establishment in every society, community, culture and civilization. Over time, humans have created designs inspired by these concepts and adorned the space with appropriate designs in appropriate places and situations. Therefore, one of the holy places, which due to its status and sanctity has a corner of many visual signs in the universe, is the royal and holy court of Samen Al-Hajj Ali Ibn Musa Al-Reza (AS) in Khorasan. Is. This holy shrine of Razavi has been a safe haven for the hearts of believers from different walks of life throughout history and different periods. Shiites have used it (Nemati, 2016). Azadi Courtyard is one of the main areas of Astan Razavi, which in its place has decorations and visual signs with a unique Iranian-Islamic culture that are thought-provoking. The courtyard is located to the east of the shrine, which has four porches and a wooden door of the southwest pavilion has been selected. Considering that the basis of Islamic art is based on repetition and symmetry, all the visual-visual elements painted and decorated in the courtyard are decorated with the same principle. Therefore, in this article, due to the lack of elaboration, repetitive and continuous patterns, elements and visual-visual signs are avoided, and researchers are content to introduce the works. However, the designs that are different and unique from each work are selected and studied and analyzed with a semiotic approach. The Freedom Court of Astan Quds Razavi is a text of one of the most magnificent works of Islamic architecture that has a lot of hidden codes that need to be revealed through interpretation and semiotics is one of them. In this research, we will try to explain the relations between signifier and signified in the signs used in this traditional religious space, which is based on various contracts of similarity (symbolism), association and traditions (symbol) and cause and effect (index). Analytical science used semiotics in analyzing and reading patterns and discovering their implicit meanings. The present study seeks to answer these questions: What kind of visual signs based on the relationships between signs and meanings are available in the courtyard of freedom? And how can these signs be read and analyzed using the analytical tools of the semiotic approach? This article has been done by descriptive-analytical method. Data collection is in the form of library resources. The result of the research showed that the visual signs of Freedom Square are classified into seven categories. In general, the message and concepts of visual signs related to themes and meanings such as: holiness, rabbinism, soul and perfect human being have been observed. The relationships between different aspects of signs are also based on the semiotic approach in the form of index-symbolic, index-symbolic, symbolic-symbolic.

Iconography, which is formed by combining two Greek lexemes eikon</em> + grahein</em>, is a branch of studying the history of art that turns to surveying, concept recognition, and description of signs present in the artwork. This branch with a historical root drew much attention during the 20th</sup> century and more accurate and scientific studies were performed about it. Since the western art, especially during the Middle Ages and Renaissance, was under influence of Christianity, artists utilized a lot of signs and symbols to mentioned to stories and Christian figures. Several researchers were encouraged to present more adequately defined method to study iconography. In this line, Erwin Panofsky (1892- 1968), relying on hypothesis proposed by Aby Warburg (1866- 1929) which now a day is known as the spiritual father of the Iconography. Both German art historians, suggested the topic of iconology, forming by combination of eikon</em> + logos</em>. The name of Iconology (Italian: Iconologia), is derived of the fundamental volume by Cesare Ripa (1560? -1622), Iconologia overo Descrittione Dell'imagini Universali extracted from Antiquity and other places</em>, published in 1593 in Rome by the heirs of Giovanni Gigliotti</em>.  In this theory, each artwork is studied and reviewed by the cultural and historical values of its own creation era. The values on which the beliefs of a nation are based. In order to access to the hidden meanings in deep layers of artworks, Erwin Panofsky proposed three phases: his plan started with a pre-iconography that includes visual patterns of a work and its identification information; the second phase is analysis of iconography turning to introducing the theme of the work, story(s) and figures displayed in it. This analysis is the cognition that the audiences obtain about the certain concepts conveyed through religious, artistic sources or oral traditions. The third phase is the interpretation of iconology which is in relation with symbolic values concealed in the work. In iconology topic, the cultural, historical circumstance present in artistic atmosphere of the artwork creation period is surveyed. Regarding this attitude toward art criticism, it can be claimed that these three phases, along with each other, form the most perfect type of criticism in which all the dimensions of an artwork is taken into consideration and thus, iconology needs the highest level of critic knowledge. Since in Italian art in Medieval and Renaissance, several symbols are used to convey various religious concepts; it is one of the best present art for criticism in both sections of iconography and iconology. Using descriptive-comparative research method and based on library and written sources, this article studies the differences between these two categories and use them in Renaissance art with a case study of the well-known work of Piero della Francesca, The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece). This is a painting executed in 1472-1474, by the technic tempera on panel, in 248 cm × 150 cm, entitled as the most famous work of the 15th</sup> century for this legend. This work which is now kept in Brera Gallery in Milan displays of the legends of holy book, which was commissioned by Federico III da Montefeltro </em>(1422-1482), the Duke of Urbino - a walled city in the Marche region of Italy, south-west of Pesaro, a World Heritage Site - from 1474, the figures presented in this work were unknown for a long time; after transferring it from Urbino to Milan in 1811, following the Napoleonic requisitions, followed by extended studies, they were identified. The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and six saints. This masterpiece represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. The Brera altarpiece is an example of the perspective research carried out by the artists of central Italy in the second half of the fifteenth century. It is a monumental work, with a magnificent treatment of light, immobile and an iconographic repertoire of extraordinary richness. Della Francesca’s work is the first Sacred Conversation developed mainly vertically: numerous altar tables throughout central-northern Italy are inspired by it. Surveying it as a case study can be a suitable example for practical use of these two iconography and iconology for art critics.

Engraving on silver is one of the branches of art and metalworking. This art is considered to be the most prominent branch of metalworking art in Tabriz and is also known as Tabriz style engraving among silver artists. In the silver art of Tabriz, the technique of engraving the surface of silver metal is used. Artists in the classification of various metalworking techniques refer to engraving and carving as a sub-branch of the art of engraving. However, there is a big difference between engraving and chasing in terms of execution technique. In Isfahan chasing, there is a lot of variety of pens, but the number of pens in the art of engraving on silver is 4, and the artist makes the pens himself. The artist uses a pen and hammer to place the tip of the pen on the metal surface, and the artist removes chips from the metal surface with the sharpness of the pens, using the force of his hand, without the use of a hammer. The most important factor in the formation of Tabriz silver engraving was the presence of Armenian metalworkers in Iran. A group of metalworkers living in Van, Turkey, migrated to Iran from the northwest, first in Jolfa and then gradually to Tabriz and the central cities of Iran. Among them were a number of silversmiths. By living in the city of Tabriz, these people followed their previous profession and art and raised many people. Influenced by Iranian culture and art, Iranian-Armenian artists have taken common creative genres from Iranians and organized new artistic ideas. The history of the Armenians is so intertwined with the culture of modernity and prosperity of Iran that the study of the passage from the traditional world to the contemporary world is not without mentioning the names of a number of them. In various fields, because this lineage of Iranians had closer relations with the West due to their religious closeness to the Europeans, they made it possible to transfer different cultures, arts and sciences to Iran. But what made this art flourish in the region of Azerbaijan was the public acceptance of the art of carving Armenian silver. Thus the core of the art of engraving on silver metal was formed by Armenian immigrant artists. Of course, it is necessary to mention that many Armenians had settled in Tabriz before this date. The purpose of this article, after introducing engraving on silver, is to identify the evolution of form and the common role in engraving on silver in Tabriz. The main questions of this research are: What has changed in the art of making and decorating the art of silver engraving during this hundred years? What is the history of using motifs in the art of engraving? The nature of this research is based on descriptive-analytical method and the method of collecting information is library and field. In the field method, by referring to Tabriz silver engraving workshops, visiting the Qajar Museum and personal collectors, interviewing artists and experts, and taking photos of existing samples (old and new) to collect The information was collected and then the collected information was examined and analyzed in terms of shape, role, construction and decoration techniques. The statistical population of this research has been selected from 22 works engraved on Tabriz silver during the last one hundred years. The method of analysis is also qualitative. Finally, the results of the research show that silverwork has changed its use in form after its expansion in Iran. The works of Armenian artists have had special motifs and techniques from the beginning, and over time, there have been changes in its decoration and motifs. Thus, in the historical study, considering that about 100 years have passed since the migration of Armenians and the development of this branch of metalworking in Tabriz, the art of Armenian metalworking can be divided into earlier works (first 50 years) and later works (second 50 years). ) The basic forms of tea utensils were such as cup holder, teapot, tray, sugar and various cigarette boxes. But in later periods, depending on the lifestyle and tastes of the audience, different forms of dishes have been used. Attention to the economic discussion in the collection of silver objects and luxury were the factors that expanded the form of silver vessels. The roots of silver engraving motifs in the first 50 years after the migration of artists were influenced by common motifs in Armenian art and Iranian metalwork motifs in the first millennium BC and marginal motifs in the metalwork art of the Islamic period. In the second 50 years after the establishment of silversmithing in the city of Tabriz, its form and designs have been influenced by the metalworking art of previous periods and the social and cultural indicators in the society.

Sociological researches on Iranian music usually focus on the musical events that took place in Pahlavi era onwards or take on as their points of departure the social events that occurred after the constitutional revolution of 1905. There is good reason for this particular approach since the most challenging questions about Iranian music start with their relation to major social changes in contemporary Iranian society or western music that all appeared after the constitutional revolution of 1905. Yet musical practice in prerevolutionary Iran and in that particular social context had its own characteristics. Special combination of different social forces in Iranian society led to a particular form of cultural and artistic production, especially music. The authors of this research have specified different main social groups in Iranian society of Qajar era who had a defining role in shaping this social context: sufies, clergies, culturally influential families, and Qajarian court. In this research, the authors tried to locate a distinctive cultural discourse in Qajar era formed within this specific configuration that is based on the so-called "Hall and Qal" discourse. By recognizing this discourse, we could use it to understand the sociological situation of artistic production of music in Qajar era. Investigating this social structure also will help us understand better the musical practice that was current after the constitutional revolution in Iran, when so many deep social changes in Iranian society disrupted the old way of artistic production. Therefore, we would be able to understand the specific reaction of artists who worked within the framework of artistic production in Qajar era against different artistic agendas put forwarded by other artists. In order to do that, after explaining the sociological context of music production in prerevolutionary Iran we will analyze one of the first and most important musical debates of this time period in an article named “Fatwa-ye man” by Aref Qazvini. Aref Qazivi entered a debate with Ali-Naqi Vaziri and challenged the way Vaziri was trying to cope with Iranian music. This particular debate has a special place in Iranian contemporary art history since centers around different approaches toward art making. Thus, using sociology of emotion’s and music sociology’s approaches will help us trace back Aref’s approach to music according to the aforementioned social structure of music making in prerevolutionary Iran. The present research is an interdisciplinary study that draws on sociological insights for grasping artistic practices. Our main conceptual framework is based on social symbolic interactionism school in sociology that has evolved in many years from early thoughts of George Herbert mead to Howard Becker's groundbreaking works in sociology of art in 1980s to recent works of Tia DeNora in music sociology. The main concern in this school is the way people act and react by recognizing each other's actions through symbols. Drawing on this tradition, and also using the idea of "music in action", Tia DeNora defines the concept of affordance to show the actual workings of music in social contexts. Originally based on psychological theory of Gibson, affordance in the context of music sociology means the way music can provide means to special social actions. In addition to theory of social interactionism, we also have used the theories of Jonathan Turner in the field of sociology of emotions to analyze the sociological origin of different emotions such as shame in this context. Our conceptual methodology of this research is based on historical sociology and, since we are concerned with the case of Aref Qazvini's reaction to Ali-Naqi Vaziri's critique of him, follows the case study method. According to this method, data is gathered from various historical documents of this period, such as memoirs, newspapers, journals. Along this method, in order to analyze the main document of our concern, i.e. Aref's "fatway-e man", content analysis technique is applied based on Norman Fairclough method. Our research shows that before the constitutional revolution of 1905, the Hal discourse dominates the cultural activities of Iranian musicians. This cultural discourse, which encouraged a specific form of artistic knowledge along with a special social relation between the teacher and pupil, was best suitable to special social context of Qajarian era. Centering on the internal feelings and, sociologically speaking, lived experience, the Hal discourse is opposed to the Qal, which means relying on arguments and utterances generally. According to Hal discourse, one should feel not talk about his/her experiences. This is the case until the deep social changes of post-revolutionary Iranian society transformed the previous social context. By spreading different newspapers all over the society and new technology of telegraph, people began to discuss everything and put forward necessary changes in various aspects Iranian culture including music. Consequently, in post-revolutionary Iran musical discourse of Hal faces its opponent, i.e. Qal. That is arguments about music and its relation to society took hold of public sphere of Iranian society. This is where Aref, as someone being brought up in the culture of Hal, takes on an emotional mobilization in response to the new cultural discourse that centers on Qal instead of Hal.