Is the Handicraft Art? Search for finding the state of Handicraft among the arts, according Kant’s aesthetics (آیا صنایع‌دستی هنر است؟ جستجوی جایگاه صنایع‌دستی در بین هنرها براساس زیبایی‌شناسی کانت) (original) (raw)
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Kimiya-ye-Honar (کیمیای هنر), 2016
Merleau-Ponty’s understanding of art is tied with his phenomenological view point of perception. According to him, the important matter in art, is not only about beauty, but about perception and expression as well. Merleau-Ponty seeks to describe the relation between the artist, the objects and the world he paints. In other words, he considered the relation between the artist and the artwork. However, in this study we are looking for another aspect of the relationship. Our purpose here is to describe the interaction of artwork and the audience. With this aim, rather than addressing his direct comments about art, we will return to Merleau-Ponty’s philosophical project. In this paper, first of all, we investigate fundamental concepts of Merleau-Ponty’s philosophy and then use these concepts to describe the relationship of the audience with interactive art event in general, and to describe the interweaving of the body of performer with the audience in an interactive performance in particular. In the end, by emphasizing on research data and analyzing them in the field of interactive art we look at the performance of “ Field “ (performer: Amir Mobed) and we analyze the importance of the aspect of embodiment in performer and audience in event and the interaction between them. It is important that interactive art, despite its expansion in the world of contemporary art and despite numerous research studies in this area, has been less studied from a philosophical perspective. By means of Merleau-Ponty’s philosophical views in the context of interactive art, it is a possibility to free a work of art from definitions, limitations, as well as dualism of outside / inside, artist / audience. Interaction of the audience with the artwork is the resurgence for art in order to establish a common world between the artist, audience and interactive art event. According to philosophical concepts of Merleau-Ponty, in the performance “Field”, performer is not the source and promoter of performance and all the body’s actions are not independent from the audience. He is exposed to embodiment, including looking, sensation and movement, and also the expression and bodily activity of audience. Interactive event is the common world of performer and audience, in which they are exposed to each other’s perception, and influenced by each other’s actions. In this performance, Merleau-Ponty’s concepts of expression are frequently manifested prior to any thought and reasoning, which is because of the physical proximity of performer and audience. درک مرلوپونتی از هنر با دیدگاه پدیدارشناسانه او از ادراک گره خورده است. به زعم وی مسالۀ مهم در هنر، پرسش دربارۀ زیبایی نیست، بلکه پرسش دربارۀ ادراک و بیان است. مرلوپونتی با تمرکز بر هنر در پی توصیف ارتباط هنرمند با اشیا و جهانی است که به تصویر می کشد. به عبارتی او رابطۀ هنرمند با اثر هنری را مد نظر قرار می دهد. اما با این حال در این پژوهش ما بدنبال وجه دیگری از رابطه هستیم. هدف ما در اینجا، توصیف ارتباط متقابل کار هنری و مخاطب هنر است. با این هدف بجای پرداختن به نظرات مستقیم او در مورد هنر، بازگشتی به طرح فلسفیِ مرلوپونتی خواهیم داشت. در قدم نخست ، در این مقاله، به شیوۀ توصیفی- تحلیلی به مفاهیم اساسی فلسفۀ مرلوپونتی می پردازیم و سپس از این مفاهیم به منظور توصیف رابطۀ مخاطب با رویداد هنر تعاملی بطور کلی، و توصیف تداخل و در هم تنیدگی بدنی اجراگر با مخاطب در پرفورمنس تعاملی بطور خاص، استفاده می کنیم. در خاتمه با اهتمام به داده های پژوهش و تحلیل آن در حوزۀ هنر تعاملی، نگاهی به پرفورمنس "کشت زار" خواهیم داشت و اهمیت وجه بدنمندی اجراگر و مخاطب را در جریان یافتن رویداد اجرا و تعامل بین آنها تحلیل می کنیم. این موضوع از آن جهت حائز اهمیت است که هنر تعاملی با وجود بسط و گسترش آن در دنیای هنر معاصر از مبانی نظری و فلسفی بی بهره مانده است. بکارگیری دیدگاه فلسفی مرلوپونتی در متن هنر، یک امکان است برای رهاسازی کار هنری از تعاریف و محدودیت ها، و نیز گذر از دوگانه انگاری بیرون/ درون ، هنرمند/ مخاطب، ... در هنر است. تعامل مخاطب با کار هنری، تجدید حیاتی برای هنر در جهت برپایی جهانی مشترک و تعامل بین رویداد هنر و مخاطب هنر است.
تبیین فرهنگهای هزارۀ سوم پ.م حوضۀ رود کُر بر اساس کاوش تل گپ کناره، مرودشت
2015
حوضۀ رود کر با توجه به شرایط جغرافیایی و زیست‌محیطی از دورۀ پارینه‌سنگی میانی تاکنون همواره مورد سکونت قرار داشته است. از این میان، فرهنگهای هزارۀ سوم پیش از میلاد که همزمان با دورۀ آغاز ایلامی و حکومت ایلام بوده کمتر شناخته شده است. با توجه به اهمیت ویژه این برهۀ زمانی، تا کنون درک روشنی از چگونگی گذر از دورۀ پرتو ایلامی (دورۀ بانش) به دورۀ ایلام قدیم (دورۀ کفتری) در فارس وجود ندارد؛ از دلایل این موضوع میتوان به محدود بودن کاوشهای باستانشناختی، منسجم نبودن کاوشهای صورت گرفته، انتشار محدود نتایج کاوش و استفاده محدود از علوم وابسته اشاره کرد، همچنین با توجه به عوامل مختلف از جمله شرایط زیست‌محیطی، محل استقرارگاهها دائما در حال جابهجایی بوده و هماکنون نیز محوطهای که بتواند توالی منظمی از دورههای پیشازتاریخ فارس ارائه دهد شناسایی نشده است. برخی از محققین از جمله سامنر سالها معتقد به وقفهای بین این دو دوره در فارس بودهاند. در سالهای اخیر میلر و سامنر اذعان دارند که جمعیت کمی بین این دو دوره در ملیان ساکن بوده است. تل گپ کناره با دارا بودن توالی فرهنگهای هزارۀ سوم فارس ی...
2019
. Introduction The city of Narmashir is located on the path of communication that, during the Islamic era, would link the center and west of Iran's plateau to the southeast, the shores of the Oman Sea and Hormuz. This city is known to be one of the major cities of Kerman in the third (Yaqubi, 2002, p.150) and fourth (Hadud al-'alam, 2004, p.143; Maqdisi, 2006, p.681) Hijri century. From the end of the Timurid to the Qajar period, there is not much noted in regards to this region in the geographical history books. Until the Qajar period, where Narmashir was re-named as the district of Kerman (Shirvani, 2010, p.603) and the district of Bam (Etemad al-Saltanah, 1988, p.472). In the current city of Narmashir, in addition to the Islamic buildings and sites, such as towers, caravanserai and a hill called 'carton', there were also reinforced using military-defensive and master-residential buildings. Qaleh Shahid (Shahid Castle) is an example of such buildings in Narmashir, which was most likely built in the late Islamic era. 2. Methodology With attention to the significance of Narmashir throughout the era of Islam and its vast affects, a historic and archaeological study of this area is necessary. In this essay, we study archaeology of the Shahid castle, which is one of the most known and ancient castles in the area. The main questions raised in this research are: What are the architectural and decorative features of Shahid castle and what are the factors influenced by it? What was the function of this building? The purpose of this essay is to investigate the type of work, as well as an analysis of the architectural and decorative features of the castle and its materials. Data collection method is field-documentary and the research method is descriptive-analytic. This data analysis is based on deductive reasoning. 3. Discussion Shahid castle is located today in a village of the same name in Azizabad in the central part of Narmashir city. Two-storey castle building has several rooms and two towers with similar decorations on both sides of the eastern and western entrance doors. The current area of the building is estimated at about 200 square meters per floor. The castle was built without a platform and directly on the ground. It is possible that the castle and its towers were built in the late Zand period, and some of which have been added in the last 180 years (Shoshizadeh et al., 2005, p.2). The castle has a regular rectangular pattern (fig. 3). The main axis of the building has been the access point of the spaces through the central corridor. The most important space is a room on the first floor and on the top of the entrance. This room has three openings to the outside. Access to the ceiling and towers has been made from this room. The presence of a large open space outside the castle indicates the presence of the master and the possibility of communicating between him and the others. Divisions and social relations, the system of activities and economic conditions of the society surrounding the castle with regard to the presence of the privately-owned castle can also be seen. Shahid castle towers with a height of approximately 12 meters and the same decorations are located on both sides on the inside and the outside (fig. 6). The close proximity of the towers to each other, as well as increasing the defense of the castle's inhabitants, also adds to the beauty and decorative aspect of the building. The shape of the towers is cylindrical and their plan is circular. In addition to the two towers, there were four other towers. Two of which were at of the northeastern and the other two at the northwestern side of the castle; most of them were destroyed. The castle's towers seemed to have multipurpose functions. They were used to control the entrance and exit, in and out of the castle, in order to maintain control of the fortress, it was also used to protect the castle and to fight against the enemy. The fence and the presence of observation towers and congresses are considered as the main components of the castle's defense architecture. Thus, in constructing the castle with the master and the residents in mind, these necessary measures were needed to stop or at least slow down the speed of the invaders outside the castle and the fence inside it. Due to the current location of the castle in the village, as well as its frequent and continuous use, and the gradual abandonment of it in recent decades, no culture data, such as clay pieces, was found in any parts nor the surroundings of the fort. The main materials used are mudbrick and thatch, on some parts there was plastered surfaces. There are also bricks in some parts of the building. There is also signs of wood had been used within the framework of the remaining entrance (fig. 5). Narmashir is located in the warm and dry climate of Iran. In these areas, the hot seasons are long and the winters are short, with a temperature difference of up to two times at night and day. Therefore, the construction of walls using brick to keep the inside warm during the cold season, this is an example of the use of some of the best materials in the region. On the other hand, the use of clay and laminate as an affordable and popular material, made it both convenient and inexpensive, and it was easy to recycle. Observing the principle of introversion and the making room for interior spaces along keeping defensive issues in mind, and to avoid direct sunlight as well as hot and dry winds, openings in the walls have been kept to a minimum. In contrast, in order to provide light, the location of the entrance ports and ceiling lights is chosen to provide the necessary light space. The structure of the mudbrick was not suitable for joining tile or stone decoration. Clay can also be considered as materials that have been used in decorations, in addition to the structure of the Narmashir monuments. Hence, the special layout of the bricks in front and rear is used to add a kind of decorative element in the castle. For example, in niches or some windows, the layout of the upper part is such that architects create a multi-edged and decorative form with the front and back of the bricks, and draw a mortar on it. This type of decorative element has been seen in other Islamic cultures in Narmashir plain (Jamali and Rafi Abad) and in the upper part of the windows of the Rayen citadel of Kerman. The castle towers are covered with sun-dried brick, exterior and interior. For instance, the bricks on the exterior of the tower are lined with crossover, square shapes, diagonal lines, rows of other geometric patterns, and the outer decorations of the towers. This type of form and decoration has been used as architectural and decorative patterns that have been common in other towers and minarets in Narmashir and other parts of Iran since the Seljuk period. 4. Conclusion Shahid castle was built and used as a governmental, private and residential property, and which took military action during insecurity. The castles and towers date back to the late Islamic centuries. In regards to the architectural features, the type of decoration, type of plan and kind of materials used, the most important are: - Construction on a regular and rectangular surface; - The presence of the roof of the arched roof, the windows and the wall heater in the spaces and rooms of the building; - The presence of a fence and a solid wall in accordance with cultural and security conditions; - Establishing a dominant atmosphere; suiting the economic situation, livelihoods and social status, divisions and communications; and a system of social activism; - The construction of two observation towers with a circular plan and a cylindrical shape to suit the nature, the environmental conditions and able to withstand severe storms, as well as to better defense, over watch and gain control the inside and surroundings of the building; - The use of structural elements of mud brick, thatch and wood for the doors, and possibly windows, in accordance with the climatic characteristics of hot and dry areas. In general, we can say that the reasons for using clay in this area are: The use of local materials in accordance with the principle of "self-sufficiency"; Lower costs of construction, repair and maintenance; ease of work; Simplicity and avoidance of futility; Adaptation to the environment and needs; High resistance of mud brick and clay produced in Narmashir due to the presence of sand and gravel in them; Resistance to extreme changes in temperature between the night and day; Resistance to mild earthquakes; Good for thermal insulation.
نظریۀ فطرت؛ بهمثابه مبنای معرفتشناختی علوم انسانی
2019
بر اساس دیدگاه اندیشمندان اسلامی، انسان موجودی فطرتمند است؛ به این معنا که جنبة ثابتی دارد که دین الهی با آن هماهنگ بوده، بر اساس آن نازل شده است. ازاینرو، فطرت به آفرینش ویژة انسان اشاره دارد که در سه بعد شناختی، گرایشی و توانشی قابل دسته‌بندی است. پذیرش مسئله فطرت به عنوان یکی از مهمترین پیش‌فرض‌های انسان‌شناختی در علوم انسانی اسلامی، آثار فراوانی از خود به جای می‌گذارد. نوشتار حاضر تلاش کرده است برایند این مبنا را از حیث معرفتشناختی بررسی کند. اینکه فطرت می‌تواند چونان منبعی برای معرفت و معیاری برای توجیه و سنجش آن، و تنها راه حل چالش نسبیت در علوم توصیفی و هنجاری به شمار آید، از جمله دستاوردهای پژوهش حاضر تلقی می‌شود.
2019
نرماشیر در صدر اسلام، یکی از پنج ولایت کرمان بود. اما توجه باستان‌شناسان به بم و جیرفت سبب غفلت از نرماشیر شده و شناخت کافی از سفال اسلامی نرماشیر وجود ندارد. عدم شناخت سفال نرماشیر از یک‌سو، و نقش سفال در گاهنگاری و شناخت تغییرات فرهنگی از دیگر سو، نشانگر ضرورت این پژوهش است. پرسش‌ها این‌ست که گونه‌های سفال اسلامی در نرماشیر چیست و به چه ادواری تعلّق دارند؟ فراز و فرود حیات در نرماشیر و روابط فرامنطقه‌ای آن براساس داده‌های سفالی چگونه بوده است؟ ویژگیهای تولید و سبک محلّی سفال در نرماشیر چیست؟ اهداف پژوهش عبارتنداز: مطالعه‌ی سفال اسلامی نرماشیر و شواهد تولید، گونه‌شناسی و گاهنگاری مقایسه‌ای و نسبی سفال‌ها و تبیین روند تداوم حیات در نرماشیر. روش گردآوری داده‌ها، میدانی-اسنادی، و روش پژوهش توصیفی-تحلیلی است1. برپایه‌ی نتایج، سفال اسلامی نرماشیر شامل گونه‌های: ساده‌ی بی‌لعاب، نقش‌کنده، افزوده، قالب‌زده، مُهری، شبه پیش‌ازتاریخی، لعابدار تک‌رنگ، نقش کنده یا افزوده زیرلعاب، گلابه‌ای، لعاب‌پاشیده، اسگرافیتو، نقاشی زیرلعاب، نقاشی روی لعاب، زرین‌فام و آبی‌و‌سفید است. این گونه‌ها، ارتباطات فرهنگی با: جیرفت، غبیرا، سیرجان، میناب، کیش، سیراف، نیشابور، اسفراین، ری، اصفهان، قصرابونصر، مرودشت، سی‌سخت، بویراحمد، شوش، رأس‌الخیمه امارات، مُسندَم عمان، حضرموت یمن، قلعه بحرین، بصره، سامرا، رقّه و لشکری‌بازار را نشان می‌دهند. برخی نمونه‌های سفال نرماشیر وارداتی و تعدادی تولید محلّی، اما تقلیدی هستند. نمونه‌های قالب‌زده‌ی بی‌لعاب، تولید محلّی و دارای نقوش کاملاً محلّی هستند. همچنین، حیات شهر نرماشیر از دوره‌ی ساسانی آغاز شده، و در دوره‌ی سلاجقه‌ی کرمان و قراختاییان به اوج می‌رسد و تا دوره‌ی تیموری تداوم داشته است؛ اما جمعیت آن در دوره‌ی صفوی کاهش می‌یابد و پس از صفویان متروک شده و تعدادی روستا در دشت باقی می‌ماند. In the early Islamic sources, Narmashir has introduced as one of the five main cities of Kerman and a part of the southeast economic exchange network. But it is unknown because archaeologists have often focused on the Bam and Jiroft. The questions are: what are the types of Islamic ceramics in the Narmashir, and what periods are they related to? How does the ups and downs of life in the Narmashir and its transnational cultural relations? What are the features of local ceramic production in the Narmashir plain? The purposes of the research are: “the study of Islamic ceramic and production evidence in the Narmashir”, “typology and relative chronology of ceramics”, and “explaining the periods of the prosperity of Narmashir”. The data have collected via “documentary and field” method, and the research method is “descriptive-analytical”. Based on the results, the ceramic types in Narmashir include the unglazed simple wares, wares with carving or added motifs, molded wares, pseudo-prehistoric ceramics, monochrome glaze, underglaze carving or added motifs, slip-painted wares, Sgraffiato, underglaze or overglaze painting, lusterware, and blue and white wares. These types of ceramics show the cultural relations with Jiroft, Gobayra, Sirjan, Soghan, Minab, Kish, Siraf, Nishapur, Esfahan, Rayy, Qasr-e Abu-Nasr, Marvdasht, Pasargadae, Sisakht, Boyer Ahmad, Susa, Ras al-Khaimah, Musandam, Hadramaut, Bahrain, Basra, Samarra, Raqqa, and Lashkari Bazar. Some samples of ceramics are imported in Narmashir. Some others are local, but they are imitated from foreign samples. The unglazed molded wares are locally produced and they have localized motifs. Also, the life of the old city of Narmashir has started from the Sassanid era, it peaked during the Saljuq and Qara Khitai period, and continued until the Timurid. But, its population declined during the Safavid period, and it has abandoned after the Safavids. So, only a few villages remained in the plain.
2019
داستان هایی که دارای قدرت تاثیری جهانی هستند، برخوردار از عناصر ساختاری مشترک و جهان شمولی تحت عنوان کهن الگوی سفر قهرمان می باشند که در آنها به مضامینی از جمله مضمون کودکان اسطوره ای (رها شده) پرداخته شده است. مؤید این مطلب کتاب شاهنامه فردوسی است. متنی جامع و سرچشمه ای که بارها و بارها مورد استفاده ی هنرمندان مختلف از جمله نگارگران قرار گرفته است. بررسی موفقیت نگارگران این نگاره ها در بازنمایی مضمون فوق، هدف محوری این پژوهش می‌باشد. در همین راستا مقاله‌ی حاضر، زال را به عنوان نمونه‌ی مورد مطالعه از کودکان شاهنامه انتخاب و عناصر ساختاری داستان زال را بر اساس مراحل الگوی کمپبل در نگاره ی «گفتار اندر داستان سام نریمان و زادن زال » از شاهنامه طهماسبی، با استفاده از رویکرد بینا متنیت تطبیق می‌دهد. پژوهش با این روش، به رابطه ی بین دو متن کلامی شاهنامه و متن تصویری (نگاره) می‌پردازد. فرض اساسی این مقاله بر آن است که شاهنامه طهماسبی، برخلاف بسیاری از نسخه های تصویری شاهنامه ها، با توجه به بافت فرهنگی مذهبی صفویه از عناصری نمادین و در جهت تاکید بر معانی اسطوره ای باستانی بهره برده و موفق ...
journal of Linguistic Research, 2021
این پژوهش، بر پایة رویکرد تحلیل گفتمانی فوکو برداشت گفتمانی مشارکان را از واژه‌های تاریخی-سیاسی بررسی می‌کند و در پی آن است که صورت‌بندی‌های متفاوت تاریخی-گفتمانی و ماهیت متغیر آنها، چگونه در واژه‌ها به عنوان مصداقی از حقیقت گفتمانی (برساختة گفتمانی) نمود یافته و با واژه‌ها بازتولید و یادآوری می‌شوند؟ به عبارت دیگر چگونه «واژه» به تنهایی یک گفتمان قابل‌تحلیل است؟ این پژوهش طی دو مرحله و دو پرسشنامه و به ترتیب با 110 و 135 مشارک از دانشجویان دانشگاه علوم پزشکی به عنوان نسل جوان معاصر انجام شده‌است. روش این پژوهش کیفی و کمی و مبتنی بر توصیف و تحلیل است. پرسشنامة دوم در 5 گروه پرسشی، پیوند واژه با دورههای تاریخی و گفتمان‌ها، تفاوت گفتمان واژه در هر دوره و گفتمان فردی مشارکان را ارزیابی می‌کند. داده‌ها به صورت کیفی و کمی و در قالب آمار و نمودار توصیف و تحلیل شده‌است. تحلیل کمی و آمار استنباطی داده‌ها که شامل 21 گویه بودند با نرم افزار SPSS ارائه شد که وجود پیوند معنادار میان «واژه‌ها» با «دورهها و گفتمانهای تاریخی» را تأیید می‌کرد. نتایج نشان می‌دهد برخی واژه‌ها مانند واژه‌های تاریخی... Based on Foucault's discourse analysis approach, this study examines participants' discourse perceptions of historical-political words and tries to find the answer to the question of how different historical-discourse formulations and their changing nature is expressed in words as a referent of discourse truth (constructed discourse) and reproduced and recalled by words. In other words, how is the "word" itself a discourse that can be analyzed? This research was conducted in two stages and two questionnaires with 110 and 135 participants. The method of this research is qualitative-quantitative and based on description and analysis. The second questionnaire in 5 groups of questions evaluates the connection of the word with historical periods and discourses, the difference between the discourse of the word in each period, and the individual discourse of the participants. The data were analyzed qualitatively and quantitatively in the form of statistics and graphs. Quantitative analysis of data from 21 items by SPSS software confirmed a significant relationship between "words" and "historical periods and discourses". The results showed that some words, such as historical-political words, are to some extent formed in discourse and are tied to specific historical discourses. And reciprocally, independently and disregarding any background and verbal context, they can represent and induce that discourse and reconstruct the components related to that discourse in the mind of the addressee. Thus, although the words have their own lexical meaning in the language, according to different contexts, conditions of occurrence, different minds, and finally different discourses, they show different perceptions, influences, and relative meanings and carry different discourses, and the concept they have in the mind is a historical one that has been formed in history. This study concludes that words reflect the reorientation of the discourse formulations and articulations of history and they alone can be studied in discourse analysis and ethnology.