4 Advanced Studies of Art 9 10 5 8 2025 6 1 Re-Examining the Socio-Political Functions of Art Museums: A Case Study of the Louvre Museum 7 24 FA Mohammad Mostafa Yazdanpanah Department of Advanced Studies of Art, School of Visual Arts, College of Fine Arts, University of Tehran m.m.yazdanpanah@ut.ac.ir Y 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 Art Museum, The Louvre Museumm, French Revolution, Enlightenment, New Museology. http://art-studies.ir/article-1-169-en.html http://art-studies.ir/article-1-169-en.pdf

4 Advanced Studies of Art 9 10 5 8 2025 6 1 Heidegger\'s Dasein in the Meaning of Man in Cinema (Case Study of the Film Gravity) 25 38 FA behzad asadi behzad_asadi64@yahoo.com N mohammad shokry mohammadshokry44@gmail.com Y minoo khany khanyminoo@gmail.com N 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. Heidegger, Nihilism, Cinema, Gravity, Meaning of Human Existence. http://art-studies.ir/article-1-162-en.html http://art-studies.ir/article-1-162-en.pdf

4 Advanced Studies of Art 9 10 5 8 2025 6 1 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. 39 54 FA mohammad bagher ashrafian bonab aminashi57@gmail.com Y hasan bolkhari ghehi hasan.bolkhari@ut.ac.ir N 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. 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 http://art-studies.ir/article-1-159-en.html http://art-studies.ir/article-1-159-en.pdf

4 Advanced Studies of Art 9 10 5 8 2025 6 1 A comparative study of imaging in the art and diagnostic medical sciences until the advent of digital technology (Case study: photography and radiography) 55 74 FA Hamed Momken Tehran Univercity hamedmomken@ut.ac.ir N Ali khaksar Tehran Univercity alikhaksar@ut.ac.ir Y 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. Analog photography, Radiography, Medical Imaging, Digital Technology. http://art-studies.ir/article-1-137-en.html http://art-studies.ir/article-1-137-en.pdf

4 Advanced Studies of Art 9 10 5 8 2025 6 1 The Role of Artificial Intelligence in Photography: Realism or Simulation 75 90 FA leila kassaie Islamic Azad University leilakassaie@iau.ac.ir Y Setareh esmaili Al-Zahra Technical and Vocational College, Shiraz Branch setarehesmaili70@gmail.com N 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. Reality, Virtuality, Artificial Intelligence, Photography, Image http://art-studies.ir/article-1-164-en.html http://art-studies.ir/article-1-164-en.pdf

4 Advanced Studies of Art 9 10 5 8 2025 6 1 "A Semiotic Study of Meaning in the Works of Henri Cartier-Bresson Based on Roland Barthes\' Theories" 91 106 FA yeganeh amiri goudarzi40@gmail.com Y amir dastmardi amir.dastmardi@ut.ac.ir N 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.   Roland Barthes, Semiotic Interpretation, Feldman's Method, Denotation, Connotation, Ideological Meaning. http://art-studies.ir/article-1-167-en.html http://art-studies.ir/article-1-167-en.pdf