@article{ author = {Yazdanpanah, Mohammad Mostaf}, title = {Re-Examining the Socio-Political Functions of Art Museums: A Case Study of the Louvre Museum}, abstract ={Art Museums have historically been pivotal in advancing the socio-political agendas of governments and various social groups since their establishment in the 18th century. The Louvre Museum, established in 1793 during the French Revolution, was not just the first public Art Museum but also a deliberate instrument of the French Republic's ideals. Unlike earlier public collections, the Louvre's structure and mission were explicitly tied to the socio-political goals of the Republic, making it a powerful state tool and a model for other European Art Museums. This research employs the Discourse Analysis approach to investigate the socio-political roles of the Art Museum, using the Louvre as a case study. It explores how the Louvre's structure and functions were aligned with the socio-political objectives of the French Republic and the First French Empire. The findings of this research indicate that the Louvre Museum played crucial roles in defining national identity, endorsing government policies, representing political and cultural authority, "civilizing" citizens and also influenced the art market and attracted foreign tourists. By the late 19th century, many of these functions had diminished, but 20th-century institutions, like the Museum of Modern Art (MoMA), revived and adapted these roles for contemporary purposes. This research is related to the New Museology, a theorical field which is close to the Cultural Studies and challenges traditional notions of museums as neutral repositories of Art and it used a descriptive-analytical method to analyze library data}, Keywords = {Art Museum, The Louvre Museumm, French Revolution, Enlightenment, New Museology.}, volume = {5}, Number = {8}, pages = {7-24}, publisher = {4}, url = {http://art-studies.ir/article-1-169-en.html}, eprint = {http://art-studies.ir/article-1-169-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {asadi, behzad and shokry, mohammad and khany, minoo}, title = {Heidegger\'s Dasein in the Meaning of Man in Cinema (Case Study of the Film Gravity)}, abstract ={This research examines the influence of Martin Heidegger’s philosophy, particularly the key concepts of “thrownness” and “being-in-the-world,” on the representation of human beings in contemporary cinema. The purpose of the study is to analyze how Alfonso Cuarón employs Heidegger’s existential theories in the film Gravity. The main research question is how this film, using advanced cinematic tools, can artistically and philosophically portray the crisis of meaning and nihilism that dominates the modern world. From a goal-oriented perspective, this study is fundamental, and in terms of methodology, it is descriptive-analytical. The required data were gathered through documentary research, and film content analysis was used as the primary research method. The results of the study indicate that Gravity not only presents an engaging narrative but implicitly illustrates Heidegger’s philosophy within the context of modern cinema. This work depicts the “thrownness” of humanity into a weightless, lifeless space, where the concept of instability and suspension in modern life becomes clearly evident. By combining advanced cinematic technologies and innovative structural techniques, Cuarón has successfully portrayed concepts such as the crisis of meaning, nihilism, and the decay of values in an artistic and philosophical manner. The analysis also shows that despite contemporary challenges, cinema can still serve as a platform for expressing profound philosophical concepts and stimulating reflections on the truth and meaning of existence. In this regard, Gravity is a work that, beyond the boundaries of entertainment, explores deep anthropological and ontological concepts, inviting the viewer on a philosophical and intellectual journey.}, Keywords = {Heidegger, Nihilism, Cinema, Gravity, Meaning of Human Existence.}, volume = {5}, Number = {8}, pages = {25-38}, publisher = {4}, url = {http://art-studies.ir/article-1-162-en.html}, eprint = {http://art-studies.ir/article-1-162-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {ashrafianbonab, mohammad bagher and bolkharighehi, has}, title = {A study on the treatise on the introduction of the principles of calligraphy from the circle and the dots from the book Raha al-Sidur and Ayat al-Surr by Muhammad ibn Ali Rawandi in the teaching of calligraphy.}, abstract ={Abstract: The treatise on the introduction of the principles of calligraphy from the circle and the dots, written by Muhammad ibn Ali Rawandi, is one of the oldest calligraphy teaching texts in the history of Iranian calligraphy, and is one of the most comprehensive treatises on calligraphy. It was written in the sixth century AH. This treatise can be considered one of the first surviving calligraphy teaching texts in the history of Iranian art. The writing of this treatise, while being short and avoiding formality, uses literary and poetic devices while teaching calligraphy. The placement of this treatise at the end of the book Raha al-Sudur and Ayah al-Surr, which, according to researchers, is a transcription of the book Seljuq-e-Qanamah by Khwaja Zahir al-Din Neyshaburi without citing the source, does not discredit it, considering the author's knowledge and calligraphic profession, and the introduction written on the treatise, which conveys his knowledge of the art of calligraphy and writing, as does the interpretations of the previous chapters of the book. This article, based on fundamental articles and using a descriptive and content analysis method, examines the process of formation of Rawandi's literary and artistic personality and the course of his artistic activity, while introducing and examining the importance of this treatise from the book Raha al-Sudur, its writing style, and its teaching of calligraphy in the art of calligraphy.}, Keywords = {A treatise on the understanding of the principles of calligraphy from the circle and the dots – Muhammad bin Ali Rawandi – Calligraphy – Rahaف al-Saddur and the verse of pleasure}, volume = {5}, Number = {8}, pages = {39-54}, publisher = {4}, url = {http://art-studies.ir/article-1-159-en.html}, eprint = {http://art-studies.ir/article-1-159-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {Momken, Hamed and khaksar, Ali}, title = {A comparative study of imaging in the art and diagnostic medical sciences until the advent of digital technology (Case study: photography and radiography)}, abstract ={In this research, the common aspects of image registration and the process of film development and fixation in photography and radiography, and at the same time the differences between the two, are identified and expressed. Therefore, the fundamental problem of this research is how the techniques, skills and principles used in the art of photography can help radiography in creating and recording images with better quality. Based on this, the aim of the current research is to identify and determine commonalities between imaging in art and diagnostic medicine, to know the effect of photography on radiography in diagnostic medicine, which can ultimately lead to a more accurate diagnosis in terms of practical value. In this sense, the current research focuses on the subject with a practical approach and analytical-comparative method, and data has been collected based on library and electronic study. The findings of this research claim that the use of useful equipment is required and knowledge of how the process of recording the image until reaching the final product, Along with the correct application of physical laws and chemical transformations, you can reach the desired point. Also, the existence of a time difference in the discovery of these two technologies has shown that staying on the medical needs is placed in the next priorities.}, Keywords = {Analog photography, Radiography, Medical Imaging, Digital Technology.}, volume = {5}, Number = {8}, pages = {55-74}, publisher = {4}, url = {http://art-studies.ir/article-1-137-en.html}, eprint = {http://art-studies.ir/article-1-137-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {kassaie, leila and esmaili, Setareh}, title = {The Role of Artificial Intelligence in Photography: Realism or Simulation}, abstract ={Recent advancements in artificial intelligence (AI) have brought about a significant transformation in the field of photography. This technology now possesses the capability to create images without the presence of a physical subject or camera, thereby challenging the boundaries between reality and virtuality. AI has expanded to such an extent that it can independently generate images, films, music, and text, raising fundamental questions about the nature of reality through the lens of technology. This shift may lead to the decline of certain professions, especially within the arts—and most notably, photography. With the emergence of machines and robots capable of producing creative works without human intervention, powered by sophisticated AI systems, new challenges have arisen around the concepts of reality, authorship, and ownership in artistic production. As Kachouei (2020) notes, the position of reality in photography has become a central topic of discussion within artistic circles. This paper explores the concept of reality in photography in the age of AI through a theoretical and library-based research approach, examining the ways photography shapes and reflects perceptions of reality in contemporary visual culture.}, Keywords = {Reality, Virtuality, Artificial Intelligence, Photography, Image}, volume = {5}, Number = {8}, pages = {75-90}, publisher = {4}, url = {http://art-studies.ir/article-1-164-en.html}, eprint = {http://art-studies.ir/article-1-164-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {amiri, yeganeh and dastmardi, amir}, title = {"A Semiotic Study of Meaning in the Works of Henri Cartier-Bresson Based on Roland Barthes\' Theories"}, abstract ={This article adopts a semiotic approach to analyze one of Henri Cartier-Bresson's iconic photographs, focusing on the representation of a child within a documentary yet ideologically charged context. The theoretical framework of this study integrates Edmund Feldman’s four-step model (description, formal analysis, interpretation, and evaluation) alongside Roland Barthes’ semiotic theories—particularly the concepts of "ideological meaning" and "myth." In the first stage, the image is described based on visual elements such as composition, lighting, the positioning of the child, and the presence of posters in the background. This descriptive phase offers a neutral and technical account of the photograph's formal qualities. The second phase involves analyzing the structural relationships among these visual elements to reveal how they affect the viewer’s perception.The core of the article lies in its semiotic interpretation. Here, the child is examined not as a neutral subject, but as a cultural and social sign that conveys ideological meaning. The final phase evaluates the image based on its effectiveness in transmitting meaning and its broader socio-cultural impact. From Barthes' perspective, this photograph—despite its seemingly objective appearance—functions to reproduce and naturalize dominant ideological discourses. The child, as a visual signifier of innocence, vulnerability, or moral worthiness, is situated within a web of signs that subtly reinforce class-based, social, or cultural assumptions.  }, Keywords = {Roland Barthes, Semiotic Interpretation, Feldman's Method, Denotation, Connotation, Ideological Meaning.}, volume = {5}, Number = {8}, pages = {91-106}, publisher = {4}, url = {http://art-studies.ir/article-1-167-en.html}, eprint = {http://art-studies.ir/article-1-167-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {Ashrafi, Sim}, title = {The Boundary Between Art and Non-Art in the Face of the Crisis of Representation: From the Avant-Garde to Contemporary Art}, abstract ={Abstract: This study focuses on the position of painting in relation to the crisis of representation and the boundary between art and non-art, a crisis that emerged from the avant-garde movements of the twentieth century and has persisted, in an expanded form, into the contemporary era. Adopting an analytical-comparative approach and drawing on Clement Greenberg’s theory of medium purity, Arthur Danto’s idea of the “end of art,” and Peter Osborne’s concept of the post-conceptual condition, the study seeks to examine whether contemporary painting can still derive meaning through representation or must be redefined within the horizon of the post-medium condition. The findings indicate that the logic of negation in the avant-garde movements, although resulting in a rupture from mimetic representation, laid the groundwork for a transformation in the very nature of painting. From the mid-twentieth century onward, the works of artists such as Robert Rauschenberg and Lucio Fontana broke through the boundaries of the canvas and of painting itself, paving the way for what Rosalind Krauss later termed the post-medium condition and revealing the potential of painting as a reflection on its own medium. The analysis of theoretical foundations and historical examples in this study suggests that the crisis of representation is not a sign of the end of painting, but rather an opportunity for its continuation and reinvention within the framework of contemporary multimedia discourses. Consequently, in its current condition, painting no longer seeks to maintain medium-specific stability but instead moves toward a form of conceptual fluidity and ongoing self-reflection on the boundaries between art and non-art.}, Keywords = {Keywords: Avant-garde, Crisis of Representation, Boundary between Art and Non-Art, Contemporary Painting, Post medium}, volume = {5}, Number = {9}, pages = {7-28}, publisher = {4}, url = {http://art-studies.ir/article-1-175-en.html}, eprint = {http://art-studies.ir/article-1-175-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {Sherafat, Nazanin and Shirvani, Mohammad Reza and PiraviVanak, Marziye}, title = {A Structural Study of Naskh Rayhani Scripts with a Focus on the Transcription of Surah al-Fatiha by Ibn al-Bawwab and Yaqut al-Musta\'simi.}, abstract ={As one of the important branches of Islamic calligraphy, the Naskh Rayhani script reached its peak in the Middle Ages with the efforts of two prominent calligraphers, Ibn Bawab and Yaqut Musta'semi. This research, with a structural approach, examines the characteristics of letters, geometric proportions, and line combinations in the works of these two masters. The main goal is to identify the differences and similarities in their writing of Quranic surahs and analyze the place of each in the development of the Naskh Rayhani script. Studies show that Ibn Bawab, by emphasizing simplicity, legibility, and clarity of forms, has established the initial foundations of this script; while Yaqut Musta'semi, by being careful in the curves, lines, and line combinations, has given the Naskh Rayhani script a more artistic and dynamic dimension. A structural comparison of the works of these two calligraphers shows that each has played a fundamental role in the evolution of this script; Ibn Bawab as the founder of Usul and Yaqut as its perfector. Finally, the present study reveals a reflection of the link between tradition and innovation in Islamic calligraphy.  }, Keywords = {Calligraphy,Naskh, Reyhan, Sure al-fatiha, Ibn al-Bawwab, Yaghot al-Mosta'simi}, volume = {5}, Number = {9}, pages = {29-42}, publisher = {4}, url = {http://art-studies.ir/article-1-172-en.html}, eprint = {http://art-studies.ir/article-1-172-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {moayedzadeh, sona and khodadadimotarjemzadeh, mohamm}, title = {Examining the Political and Colonial Functions of Landscape Photography in the Geographical Construction of the Holy Land, 1850–1950}, abstract ={This study investigates the political and colonial functions of landscape photography in the geographical construction of the Holy Land and analyzes the representational strategies through which the West appropriated this territory. Adopting a critical framework, it seeks to address how landscape photography, as a visual, ideological, and discursive medium, facilitated the colonial occupation of biblical sites while simultaneously contributing to the construction and reconfiguration of the Holy Land’s geography. To this end, the research examines photographs of landscapes and sites in the Holy Land taken between the late nineteenth and the mid-twentieth centuries. Employing a qualitative, historical-analytical methodology, the data have been collected from library and archival sources. The findings reveal that, during this period, landscape photography operated as a powerful instrument in Western imperial projects across the region. Through the systematic omission of historical, cultural, and human traces, it produced a new visual geography of the Holy Land that legitimized Zionist identity and the territorial appropriation of land. Furthermore, by linking local sites to European religious narratives, landscape photography constructed a sacred visual domain that played a central role in shaping the geography of Zionist religiosity and in reproducing an idealized, utopian image of the Holy Land. The study concludes that a critical reinterpretation of such landscape photographs not only enriches the understanding of the history of photography but also offers insight into contemporary geopolitical tensions in the Middle East, particularly the enduring territorial conflicts between Palestine and Israel.  }, Keywords = {Colonial politics, landscape photography, geographical construction, Holy Land, Orientalism.}, volume = {5}, Number = {9}, pages = {43-66}, publisher = {4}, url = {http://art-studies.ir/article-1-180-en.html}, eprint = {http://art-studies.ir/article-1-180-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {Hejazian, Hom}, title = {A Prelude to the Futility of Technical Mastery in Contemporary Art}, abstract ={Art throughout history has continuously evolved, with artists of each era serving as reflectors of the culture and conditions of their time. The twentieth century, in particular, witnessed profound transformations in the concept of art and the artist’s position. During this period, with the emergence of movements such as Dadaism, Surrealism, and Conceptual Art, technical skills—previously regarded as the primary criterion of artistry—ceded their place to ideation and conceptualization. The present study, conducted using a descriptive-analytical method and drawing on library resources, seeks to address the question: Has technical skill become inefficient in contemporary art, and what factors have contributed to this transformation? Analyses reveal that from the 1970s onward, contemporary art has embarked on a new path where emphasis on ideas and concepts has supplanted manual skills. Lawrence Weiner’s 1968 declaration—“The artist may construct the piece, the piece may be fabricated, the piece need not be built”—marks a pivotal turning point in this regard. Furthermore, the influence of Descartes’ philosophy, which prioritizes mind over matter, along with the expansion of new technologies, has played a key role in shaping this approach. The findings suggest that while the number of individuals identifying as artists has dramatically increased in the contemporary era, and diverse methods for creating artworks have emerged, this does not imply that skill has become entirely irrelevant. Rather, the definition of skill has evolved to encompass abilities such as conceptual understanding, effective audience communication, and the intelligent utilization of modern tools. Ultimately, an informed audience, through meticulous analysis of works, can distinguish between genuine artists capable of producing lasting impacts and others.  }, Keywords = {Contemporary Art, Technical Skills, Conceptual Art, Position of the Artist, Artistic Transformations}, volume = {5}, Number = {9}, pages = {67-88}, publisher = {4}, url = {http://art-studies.ir/article-1-176-en.html}, eprint = {http://art-studies.ir/article-1-176-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {KHANY, Minoo}, title = {Symbology of Pigeons and Eagles In The Works of Holy Defense of Iraj Eskandari}, abstract ={The studies show that despite working on subjects related to war, Eskandari expresses his ideas in a universal way. For example in Iraj Eskandari is one of the masters of the visual arts who has created perdurable works of art, enriching Iran's artistic treasure after the 1979 Islamic Revolution. He made Kooroqloo which was inspired by the Kooroqloo Symphony, as his final project in the last year of university, and thus showed his interest in social subjects. He retained this interest later when he moved from making figurative paintings to making symbolic and abstract works of art. The purpose of this research is to analyze the reflection of war in the works of Iraj Eskandari, with an emphasis on the symbolic use of birds –dove and eagle- in his works. Here is the hypothesis of the research: Eskandari has symbolically used birds –particularly dove as a symbol of peace and purity- to express the oppression and innocence of the people suffering from war. Therefore the ideas and opinions of this artist about the works of art inspired by the revolution and the Holy Defense have been analyzed through reading 13 works by him which reflect the war. 5 out of 13 paintings were chosen for a detailed analysis, as Eskandari had used doves as symbols in them. The theoretical approach of the research is based on Erwin Panofsky's iconology and Charles Sanders Peirce's semiotics. The methodology of the research is content analysis, and the data was gathered through library research studies and interviews with the artist. Bombardment, he depicts the destruction of war, without including any sign or element that attaches it to a certain time and place; or he uses doves to show the innocence of the people affected by and suffering from the war. His universal view toward the confrontation of good and evil is shown by using dove as a symbol of peace, and eagle as a symbol of the imperialist America in his painting. In Captivity also we see a sorrowful dove in a cage and free doves in the sky, implying the hardship and sadness of the captivity of the prisoners of war.  }, Keywords = {Iraj Eskandari, Islamic Revolution Art, paintings on the Holy Defense, Dove, Eagle.}, volume = {5}, Number = {9}, pages = {89-102}, publisher = {4}, url = {http://art-studies.ir/article-1-178-en.html}, eprint = {http://art-studies.ir/article-1-178-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} } @article{ author = {Padisar, Kimi}, title = {The Reflection of Violence in Performance Art and Its Role in Redefining the Audience\'s Position}, abstract ={The confrontation with the phenomenon of violence constitutes a pivotal and defining current within contemporary art. This research provides a critical analysis of the transformation of artistic strategies in this domain, charting the fundamental shift from static, object-based representation toward dynamic, experience-based actions. Its primary objective is to elucidate the complex mechanisms through which contemporary art, particularly in its performative modes, seeks to forge an ethical and unmediated encounter with violence, moving beyond mere depiction. Employing a descriptive-analytical methodology, the study is grounded in a qualitative analysis of seminal works of Performance Art, in which the artist's body critically functions as a site of truth, embodied vulnerability, and potent resistance. The paper first traces the historical antecedents of this approach, locating its origins in the definitive rupture with heroic traditions of portraying conflict and in the profound artistic responses to the collective traumas of the 20th century. It then demonstrates how performance artists, by staging live, often unsettling, events, have devised novel expressive modes that challenge the conventional boundaries between art and life. The findings reveal that these immersive strategies fundamentally redefine the position of the audience. The spectator is strategically transformed from a passive, detached observer into an active and engaged witness who is sensorially and emotionally implicated within the aesthetic field, blurring the line between viewer and participant. Ultimately, this paper argues that by intentionally shattering the spectator’s safe aesthetic distance, these artistic actions directly counter the cultural tendency toward apathy and ethical detachment. In doing so, they powerfully reinvest the human experience of suffering with a renewed sense of visceral gravity and meaning.  }, Keywords = {Contemporary Art, Performance Art, Body, Audience, Violence}, volume = {5}, Number = {9}, pages = {103-122}, publisher = {4}, url = {http://art-studies.ir/article-1-177-en.html}, eprint = {http://art-studies.ir/article-1-177-en.pdf}, journal = {Advanced Studies of Art}, issn = {9}, eissn = {10}, year = {2025} }