An Analysis of the Visual and Conceptual Structure of Light in the Film “Mohammad Rasoolullah” Based on Aesthetic Components

Document Type : Research Article

Authors

1 Ph.D. Candidate in Comparative and Analytical History of Islamic Art, Faculty of Visual Arts, College of Fine Arts, University of Tehran, Iran.

2 Professor, Faculty of Visual Arts, College of Fine Arts, University of Tehran, Iran.

3 Associate Professor, Faculty of Dramatic Arts, College of Fine Arts, University of Tehran, Iran.

Abstract

Problem statement: Light is always used as one of the most important mediators and elements for inducing divine concepts in various works of Islamic art. The film “Mohammad Rasoolullah” is one of the leading examples of Iranian religious cinema in using the manifestation of light to convey divine and sacred concepts. One of the most important issues of Iranian religious cinema is the howness of showing and expressing an aesthetic and effective image of divine and religious concepts using valid criteria and components.
Research objetive: The present study aims to explain and analyze the basic components of the aesthetics of the element of light such as unity, complexity, and radiance in this film. In addition, this study intended to analyze the two elements of chaos and uniformity in the visual and conceptual structure of this work, which is in fundamental opposition to the aesthetic experience.
Research method: This study is qualitative and its framework is descriptive-analytical and based on library resources and direct study of the artwork.
Conclusion: The findings of this study show that the visual and conceptual structure of the film of Muhammad Rasoolullah is to a large extent not associated with unity, harmony, and complexity. Visual disturbance in the use of light to induce religious and sacred concepts is not seen in most of the scenes. However, it has a repetitive monotony, without narrative logic and with the least credibility, which does not bring aesthetic experience. The illumination of the space with unrealistic and often artificial effects has given a symbolic atmosphere to the whole film. The explanation and analysis of the aesthetics of light in the film of Muhammad Rasoolullah shows that it has been minimally successful in reflecting the divine and religious teachings.

Keywords


Al-GHazali, A.H. (2014). Iḥyā′ ‘Ulūm al-Dīn (The Revival of the Religious Sciences) (A. Azizi, Trans.). Tehran: Ferdows.
Aslin, M. (2011). The field of drama: how the signs of drama create meaning on stage and screen (M. Shahba, Trans.). Tehran: Farabi Cinema Foundation.
Aslani, M. (1995). Cinema-Light a comparative study between visual expression and the ontological view of the art of painting and Iranian cinema. Naghde Cinema, (5), 36-67.
Aflaki, A. A. (2005). A research on aesthetic of the relation between image and narrative literature. Bagh-e Nazar, 2(3), 21-26.
Alexander, V. (2011). Sociology of the arts (A. Ravdrad, Trans.). Tehran: Academy of Art.
Baumgarten, A. (2007). Aesthetica, Reflections on poetry. Berkeley: University of California Press.
Bolkhari Ghahi, H. (2018). About beauty. Tehran: University of Tehran.
Bonkour, P. (2005). The historical importance of natural light in architecture (E. Rezamand, Trans.). The Memar, (30), 1-7.
Borderel, D. (2021). Film Art: an introduction (F. Mohammadi, Trans.). (19th ed). Tehran: Markaz.
Burckhardt, T. (1990). Sacred Art in East and west (J. Satari, Trans.). Tehran: Soroush.
Eliade, M. (2014). Symbolism, the sacred and the Arts (M. Mohajeri, Trans.). Tehran: Parseh.
Farabi. A. (1997). Mousighi-ye Kabir [Great music] (M. Breksheli & A. Azarnoosh, Trans.). Tehran: Elm
Faridzadeh, R. & Soleimanzadeh, H. (2020). The flow of truth in Mohammad Raza Aslani’s post-cinema based on Martin Heidegger’s view in “The Beginning of Artwork”. Bagh-e Nazar, 17 (93), 39.
Gat, B. & Macyor Owis, D. (2005). The Routledge companion to Aesthetics. (M. dareh Bidi, A. A. Noojomian, Sh. Ahmadzadeh, B. Mohaghegh, M. Ghasemian & F. Sasani, Trans.). Tehran: The Academy of Art.
Giovannelli, A. (2021). Aesthetic: the key thinkers. (A. Maziar, Trans.). 3th Ed. Tehran: Lega.
Mokhtabad, M, & Bakhshi, N. (2010). Giving meaning in the architectural spaces of the two films “Winter Light” by Bergman and “Parry” by Mehrjooi. Honar-Ha-Ye-Ziba Honar-Ha-Ye Ziba Mosighi Va Namayeshi, (42), 59-70.
Necipoğlu, G. (2019). The topkapi scroll -Geometry and ornament in Islamic architecture. with an essay on the geometry of the muqarnas (M. Ghayomi Bidhendi, Trans.). Tehran: Rozaneh.
Schwann, F. (2004). Aesthetics and cryptography in art and nature, The collection of articles. Tehran: Academy of Art.
Sheppard, A. (2016). Aesthetics: An introduction to the philosophy of Art (A. Ramin, Trans.). Tehran: Elmi va Farhangi.
Suhrawardi, Sh. (2018). The wisdom of illumination (S. J. Sajadi, Trans.). Tehran: University of Tehran.
Tatarkiewicz, W. (2021). Dzieje szesciu pojec [A history of six ideas : an essay in aesthetics] (H. R. Boshagh, Trans.). Tehran: Gilgemesh.
Yasini, S. R. (2014). Semiotic Analysis of Muhammad Rasoolullah Movie Based on Dramatic Literature. Quaterly  Journal of Media Scientific- Promotional, 25 (3), 29.
Zaionc, A. (1993). Catching the Light. New York: Bantam