Art

Using light as a conceptual metaphor for his main philosophical framework, Mulla Sadra introduces some mystical-philosophical principles such as principality of existence, its gradation, unity, and substantial movement. By applying these principles on aesthetics, Mulla Sadra achieved some aesthetical principles such as the principality of beauty, its gradation, and unity. Having these principles in ontology, aesthetics, and regarding some anthropological principle to confront the complicated problems of art, it is reasonable to construct notions such as angelic art and satanic, wrathful, and carnal pseudo-art. The first is the result of a personchr('39')s emanation who reached high levels of existence; others are due to existential emanations of those who have existential deficiencies. This paper shows that similar to art, love is also of four kinds.

In Hegel's view art is not just an artistic creation. Art is an introduction to liberation. Today, Hegel's philosophy is a substitute for many challenging issues, and also an obsolete for past points, Hegel interprets works of art with key elements of his philosophy such as "absolute", "freedom" and "consciousness." Hegel divides the history of the transformation of art into three periods of symbolic, classical, and romanticism. But Hegel also mentions classical architecture and romantic architecture, which in fact transforms architecture into an artistic service which come from other types and are not considered independent. This paper examines art and architecture in Hegelian thought and explains the types of art and architecture and their meanings in the eyes of this philosopher. Absolutely undergoes three steps in the process of self-consciousness-art, religion, and philosophy. Art, as the first step of this Trinity, brings absolute liberty directly into the sensible thing. This is a logical necessity and opens the way for ultimate self-awareness of the soul. Hence, epistemic beauty is worthwhile. This view towards beauty or a beautiful issue is an epistemological phenomenon and unmatched in the history of philosophy. The beauty of value is equal to consciousness. Or at least as a prerequisite for knowledge.

The age of enlightenment is a turning point in the movements of Neo-Classicism toward Romanticism. This period emerges after preparing the ground for the decline of neoclassicism in the first half of the eighteenth century in the areas of art, literature, etc. in Europe. It is considered as the beginning of a period of art and literature consisting of artistic creativity and intuitive perception. Three main principles of "unity of time", "unity of place", and "unity of subject" based on which the classical literature was founded become subject to change and transformation. England, Germany, and France were the primary manifestation points of this movement in European literature. Although the role of the literature of ancient east in the foundations of the characteristics of "Romanticism" and pre-romanticism cannot be overlooked, the social grounds of the emergence of this age can be summarized in the longings for change of society, getting tired of old criteria in the fields of art and literature, tendency toward platonic thoughts, and escape from modernity and inclination toward logical thoughts in the works of "Kant" and "Rousseau".

Urartians ruled over the shores of Lake Urmia in Iran, Lake Van in Turkey and Sevan Lake in Armenia between 9th and 6th centuries B.C. and they had left a large number of metal artifacts. Urartians illustrated different human, animal, plant and mythical motifs on their metal objects. But lion was more common among those motifs. Urartian lion was depicted with open jaw, wrinkled face, small ears and short mane. The author suggests to study each figure separately in comparison with other cultures therefore it seems that the Urartian lions are similar to Assyrian, Hittite, Achaemenid and Etruscan lions. This Urartian motif could have been affected by the immigration, travel, savory or employing of the artists or workers from Assyrian or Hittite regions to Urartu. Urartian artists could have affected the other regions with the same reasons. A few scholars have been interested on this motif in comparison with pre and post Urartian culture. It is the aim of the author to field and library research the Urartian lion motif along with its comparison with Assyrian, Hittite, Achaemenid and Etruscan lions to trace the possible effects. 

This paper seeks to investigate a new definition for architecture by unifying the three Vitruvian principles of firmitas, utilities, and venustas via a phenomenological approach in the interpretation and analysis of their role in defining architecture. The paper is composed in two main sections. The first section investigates the nature of architecture based on the mentioned principles, where architecture is interpreted and analyzed in terms of its “thingly,” “equipmental,” and “artistic” characters. While it seems that architecture could be in view of its “thingness” alone, or “equip mentality”, or “artless”, but each perspective reveals only a dimension of the nature of architecture. Therefore, the second section of this paper focuses on unifying the Vitruvian Triad, attempting to define architecture from the single stance of “architecturality” the sphere from which architecture is seen as a way of disclosing the truth in the desired life of humans in an architectural work. In this definition, there is the simultaneous presence of thingness, equip mentality, and artless of architecture, thus establishing an integral unity between the principles of the Vitruvian Triad. Thus, the three Vitruvian principles come to unify in architecture which is defined as “the manifestation of truth of human desired life in the work of architecture.” This definition also allows us to assume three fundamental principles for architecture, “truth of human desired life”, “work of architecture” and “manifestation of truth”. These three principles are themselves, in fact, reflections of the three Vitruvian principles.

As one of the richest intellectual domains of mankind, Islamic culture has played a prominent role in the formation of diverse dimensions of Islamic community. In this regard, the rich Islamic art, which is intermixed with the elegance of Islamic architecture, is regarded as one of the aspects of Towhid (belief in the oneness of God) and divine worldview. Since the mankind is not a single-dimensional creature, and is innately inclined to beauty and innovation, architects have sought to create an original work imbued with spiritual meanings and themes within a material realm through reliance on their experience, thoughts, individual creativity as well as an aesthetic spirit on one hand, and the manifestation of spirituality and other notions on the other. The contemporary human, by setting out on journey on the earth, has made an attempt to seek knowledge and awareness, and Islamic architecture is considered as an epiphany of human nature as well as a manifestation of contemplation and existence in the depth of human spirit, which is believed to be one of the most significant elements of tourism. The present research is aimed at exploring the conceptual symbols in Islamic architecture originating from Islamic worldview, as the rich Islamic principles have inspired Muslim architects, whose thoughts and environment have been influenced by Islamic worldview. The present article has been written adopting a descriptive-analytical method. The results indicate that architectural elements in Iran have not been created without taking Islamic ideology and concepts into account, but rather all the elements applied are endowed with spirituality and divine symbols.

Depuis la doctrine de l’Ut pictura poesis, l’on découvre une piste d’analyse assez intéressante sur les rapports de la littérature et de la peinture. L’analyse de l’œuvre malrucienne, à la lumière des interactions suscitées par Mikhaïl Bakhtine, montre qu’elle est constamment en dialogue et continûment régenté par les arts du musée, au nombre desquels la peinture tient une place singulière. Cet article montre que La Condition humaine, L’Espoir et Les Conquérants sont une sorte de récit hybride ayant intégré des techniques et procédés picturaux, des personnages artistes peintres et des descriptions chromatiques, phagocytant la narration et reléguant parfois le récit au second plan. Cela dit, cette propension à l’hyper-référentialisation ou à la modélisation de la pratique picturale crée une synesthésie visuelle, transformant le texte en un catalogue, en un tableau, en un musée. Ainsi le mélange littérature/peinture, le mixage de leur structure et le dialogue entre ces genres sont-ils l’expression d’une esthétique polyphonique ou interartiale dans le roman de l’auteur français.

Realism not only has introduced way of thinking but also has discussed a different way of expression in mid-nineteenth century in west and despite its existence has experienced new forms during its stages of development and metamorphosis. Symbolic realism has been discussed as a realistic technique in art and literature style within this through this method, realism and symbolism make contradictory link where although symbolic relationships are formed but signifier, arbitrary signified as well as secondary all have realistic approach in this link which mean in context realistic channel as well as receiver's experimental mind connection with that, although culture, society, policy, history, myths and legends are also represented but they aren&rsquot determinant of meaning and only can be crystallized in second half discovery of signifier as receiver&rsquos mental reserves and of course this is the result and related to discussed realistic patterns in work. This research is sought to investigate symbolic realism which is a kind of realism that is used as technique in a work and can be one of its style indicators and considered as main style in case of its extent of function in work. Besides structural investigation of "symbolic realism", history, approach as well as introducing its artists and writers are investigated in this research and has explained rout map for further researches in this field not only in literature field but also in architecture, painting as well as religious issues.