Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
estimating the status of the library of the faculty of fine arts, tehran university, in comparison with the standards in iranian universities.
3
20
FA
saadat
ahmadzadeh
s_ahmadzadeh2001@yahoo.com
This paper is the conclusions of the recent research on the status of the library of the faculty of fine Arts, Tehran University, in comparison with the bibliotheca standards in Iranian Universities.
The paper is concerned with the data in library management & information management & organization structure, functions, personnel & statistical analyzes as well. The paper conclude that unless personnel, the library of the faculty is very poor – planed & it’s level is under 50% of the current standards. At the end, the authors suggest some plans techniques to improve the status.
Estimating the library,the library of Faculty of Fine Arts,The bibliotheca standards of the Iranian Universities
http://www.bagh-sj.com/article_1498.html
http://www.bagh-sj.com/article_1498_5be56560effdac0b18e90fd8ad034e3b.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
a research on aesthetic of the relation between image and narrative literature.
21
26
FA
ali
aflaki
The architect of the imaginative world is the imaginative faculty which is one of the man’s faculties. An art works takes it’s essence from imaginary worlds as the imagination work is illustrating and it is on the base of the artist’s observations which the image create artistic forms. Art arrives from imaginary world and philosophy from the world of wisdom.
A painter creates the most beautiful literary imagination forms on the base of aesthetic form preference, out of the context of the story and narration in his mind.
Imagination should never contrast the context; however it can provide visual interpretations from the context and explains different aspects of the context interpretation in the form of imagination. As the concepts in literary and imaginary context are not inherent part of the words and figures, therefore they are interpreted by the onlooker on the base of their presuppositions. An art context either literary or figurative is like a raw material for the addressee’s interpretation and interpretations are somehow the uncovered imaginations of the context meanings is the mind of the interpreters.
What is original in literal context and literary imagination is the subject and the beauty of the presentation structure does not serve concepts, narration and the story. As a result in artwork which is dominated by communication aspects, the addressee’s understanding has a lot determining role in evaluating an artwork.
Literature context,picture context,Conception,intension,subject and message,art and beauty,artistic formal,substantial formal,Essence,Imaginative Faculty
http://www.bagh-sj.com/article_1499.html
http://www.bagh-sj.com/article_1499_1d68cbc610428c6361569b8c1b2f73a7.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
the Pre-Aryan & Post-Aryan Bas Reliefs & Statues in Ancient India
27
41
FA
effat
bastar
It is necessary to search the origins of 6000 years Indian art & civilization in its mythology & Pantheon. At the first glance in order to survey at Indian art, the authors consider with Dravidian civilization. The Dravidians raised a glorious civilization in Indus valley; such as Harapa & Muhenjudro. The Dravidian religion is the origin as well as rout of the next Indian religions; which its foundations are believed in the Gods & the sacred nature. It is possible that Aryan nomad tribes invaded to the Indus valley through the mid.2<sup>nd</sup> millennium BC from the North West. The vedian era of Indian history began after the Aryan conquers. The Aryan conquers charged the face of art & civilization in the India. The origins of epics such as Ramayana & Mahabharata refer to the Aryan era. The migrant Aryans created some epic bas relieves in the cares & temples; these relieves narrate the story of heroes & the Aryan Pantheon. In this period, however, the social structure of the Indian society changed because of impact of the Aryan invaders. The new social stratification of Brahmans, Kashtria & vayishia is effect of Aryan believe in sky Gods, cosmic Gods & the Gods of the earth in the Vedian era. This tri logical believe evolved to the Brahma, Vishna & shiva during the Brahman era of Indian history. The art of ancient India is a sacred – religions art which concerned with the decent of the Gods in per-Aryan era & post-Aryan era as well. Therefore it is necessary to understand their ritual believes in order to understand the art. The Indian ancient art has its own specific characters in spite of the effects of foreign art & cultures such as ancient Mesopotamia, Iran & Classic. For instance, the essence of this art is metaphysical thinking & mythology the spite of its secular & physical aspects. Such characters led the artisans to create the dynamic art works.
myths,Dravidian,Vedian,Trilogy,Bas relief,Brahma,Vishna,Shiva
http://www.bagh-sj.com/article_1500.html
http://www.bagh-sj.com/article_1500_9bd889d4eae3327e6dc69a67c5b33bd7.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
critique on schuan's aesthetics
42
47
FA
mahmoud
teimouri
0009-0002-0364-6635
mteimoury@gmail.com
Frithjof Schuon of the most famous theoretician of “Traditionalist”, has had specific attitude to art and aesthetic and theirs role in traditional culture.
Distribution and development of Schuon’s (and other Traditionalist) opinions about art and aesthetic in cultural space of our country, have been started since forty years ago. Attention to the interpretation of Islamic art and critical view to the modern culture have brought about more attention to Traditionalist. But, it is neglected to review and reveal fallacies and misconceptions in Traditionalist attitude about art and aesthetic.
Symbol,Traditionalism,Schuon,beauty,Aesthetics
http://www.bagh-sj.com/article_1501.html
http://www.bagh-sj.com/article_1501_f079d10b8e5bb07bf1335a4333f879a6.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
light architecture & spaces lightened
48
50
FA
seyed mousa
dibaj
Light Architecture & Spaces lightened is a sort of innovative, dealing with the issue of what can be defined as pure forms lightened besides other architectural forms of space. What are the architectural characteristics of "light" that architecture tries to illustrate? This article tries to address the above question, based on the fundamental and philosophical description of the spaces that are lightened by the action of architecture. Through some of the qualifications of "architectural illumination", I would like to explain to spatial causes of architecture light that can be identified whit aesthetic perceptions. Spaces built up of lights, need to be discussed using other physical spaces, dimensions, angles and other falls in an architecture that, perhaps, is specified by different lightening flaming and illuminating sources, in a building, home or office, or a defined part of a room. The author argues, based on a philosophical claim made from it substantiality of space, that the construction of physical-lighted spaces needs to be retreated through the architectural dual category of light/space.
Architecture,Light Architecture,Spaces,Spaces lightened,Lightened forms,Place forms,Built forms
http://www.bagh-sj.com/article_1502.html
http://www.bagh-sj.com/article_1502_d52d6093870899d27c24aa382091aa7e.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
decoration, the main element in Iranian aesthetics.
51
57
FA
Shohreh
Javadi
استادیار گروه مطالعات عالی هنر، پردیس هنرهای زیبا، دانشگاه تهران
shohreh.javadi@gmail.com
Creating the fine in Iranian art is based on the decorative elements. The decorations in Iranian architecture are the main elements of the fine construction in pre-Islamic era & Islamic era as well. There are much of very complicated & various. Decorative elements in Iranian monuments. In other words basically, the Iranian art is a decorative art from Achaemenid era to the end of Qajar Dynasty. <br />The Iranian art of painting is decorative as well as narrative. The main subjects for the pre-Islamic painting of Iran are the hunting & battle of the kings. The personages in such paintings works are decorative; the decorative elements are: various, dresses, jewels, tools & so on. The essence of these paintings is nature, symbolism & the mythology. There are the decorative scenes such as hunting, battle & getting the crown in the Achaemenid – Sassanid bas relieves. Where as the decorative is not limited to the royal art, but it is possible to find various aspects of the decorative elements in public art: carpet weaving. <br />
Decoration,Fine,Painting,Architecture,Symbol,nature,Believes & rites
http://www.bagh-sj.com/article_1503.html
http://www.bagh-sj.com/article_1503_064a53dda00874bdadf9ef91fa00bbc0.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
an introduction to the aesthetics of Iranian Garden
58
63
FA
Seyed-Amir
Mansouri
استادیار دانشکده معماری، پردیس هنرهای زیبا، دانشگاه تهران
seyedamir.mansouri@gmail.com
The Iranian art of Garden building is concluded by the cultural interaction of Iranian lives & their surrounded environment & nature. <br />There are a few scholars, however, to understand the theoretical aspects of the Iranian garden art in spite of its very old tradition. In this paper the author is concerned with the esthetics in Iranian art of garden building based on the historical samples of Iranian garden, according to the Iranian mentality & rites through the times. Also, the paper considers the new items in the esthetics of Iranian garden; where the fine forms the space. The endless landscape, the water, space variety, sacred landscape, rectangular geometry & the space for stay-thinking are the other aspects in the esthetic of the Iranian garden. <br />The first step to the fine for the artisan in this art, is his interpretation of objects in the mind; those objects evolves through the times the environment. <br />The meaning of the fine were joined to the good & evil at the begging, where as parallel to the diffraction of the meaning of the good & evil, that meaning of the fine has evolved its nature & scope in the form & space forming. <br />
Iranian Garden,Esthetics,Symbolic space,Landscape building,Schematic & Landscape
http://www.bagh-sj.com/article_1504.html
http://www.bagh-sj.com/article_1504_9e89b57f8dff54c7beb5b9006b9e0faf.pdf
Nazar Research Center for Art, Architecture and Urbanism (NRC)
The Monthly Scientific Journal of Bagh-e Nazar
1735-9635
2251-7197
2
3
2005
09
01
the originality of the beauty and the subject subsidy in art
64
76
FA
alireza
norouzitalab
norozi_110@yahoo.com
An artwork is a form of art truth, in other words, it is the emanate of the true form of art. An art work gets all its entity and essence from the genus of the form identity, the identity of art in turn stems from the true beauty and the true beauty is the mean source of substantial form of the achieved art.
The artist invents a substantial, abstract, heavenly and ideal form of true beauty in his imaginary mind with his intuitive perception of the existence. This substantial form with all its entity receives its existence ‘on the base of the artist capacity, from the absolute and eternal beauty. That substantial form is the beginning and source of art work creation. An artwork interpretation is based on the mental system of the interpreter and the artwork interpreter first encounter’s the form of art and then interprets it on the base of the aspects which are achieved in the work. Artwork interpretation by different interpreters with diverse mental presuppositions leads to different and even contrast concept manifestations about a single work as a result an artwork especially in the field of literature is red and interpreted in different readings and diverse intakes. Any interpretation related to the sign and symbols used in an artwork is a mental reaction of us towards a context. Art context take its intrinsic truth from the art substantial form and reveals diverse meanings with different interpretation views understanding the mental system of a critic and artwork addressee can uncover the theoretical principles of the interpreter. An art form apart from the interpreter’s theoretical systems has an independent. Existence in the artwork which above all interpretations has intrinsic independence.
art,artist,internal beauty,Aesthetic,Tradition,interpretation,subject,intuition,object,Identity,Truth,Hermeneutics,substantial form of Art
http://www.bagh-sj.com/article_1505.html
http://www.bagh-sj.com/article_1505_052120d618340ca084220e0cc631be11.pdf