philosophy
Simin Esfandiari
Abstract
IntroductionIn various philosophical perspectives, the concept of the essence and being of the universe is one of the issues that has always led to discussions and reflections among renowned philosophers such as Plato and Arthur Schopenhauer. Plato, focusing on the concept of ideas and the world of ...
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IntroductionIn various philosophical perspectives, the concept of the essence and being of the universe is one of the issues that has always led to discussions and reflections among renowned philosophers such as Plato and Arthur Schopenhauer. Plato, focusing on the concept of ideas and the world of thought, and Schopenhauer, emphasizing the will and the concept of the "thing in itself," have created various views on truth and existence, each influenced by different philosophical and historical backgrounds. This article seeks to provide a deeper insight into the concept of the essence or "being" of the universe and the epistemological function of art within it through the study and analysis of the perspectives of Plato and Schopenhauer. By examining these concepts, the role and importance of art as a means of understanding and cognizing the universe are explored. On one hand, a look into Plato's philosophy and the concept of ideas and forms is presented to understand how art relates to truth and being, and on the other hand, Schopenhauer's perspective on will and the "thing in itself" and the role of art in understanding and visualizing these concepts are examined. Given that each of these perspectives is rooted in rich and sometimes complex philosophical thoughts, the writing of this article is dedicated to a detailed analysis of the concepts and a review of various sources related to these topics. It is hoped that these analyses can present the perspectives of Plato and Schopenhauer in the context of art and knowledge to the readers in the best possible way, aiding in a clearer understanding and enlightenment of our perception of the world and art. Literature ReviewIn the articles "Aesthetics and Art in Plato's Philosophy" by Abolhasan Ghaffari (2015) and "The Role of Art in Schopenhauer's Thought" by Mohammad Javad Safaian and Amini (2009), Plato's view on art and its levels, as well as Schopenhauer's view on the role of art in alleviating pain and suffering, have been explained. However, the comparison between these two thoughts, especially the epistemic function of art in understanding the essence of the world or the thing-in-itself, is a new approach addressed in this article. Methodology This article attempts a descriptive-analytical approach. After explaining the phenomenal world and the essence from Schopenhauer's perspective, the importance and position of art, the levels of art, and its epistemic function in Schopenhauer's thought are discussed by contemplating Plato's philosophy and his view on the relationship between art and understanding the truth of the world.. ConclusionSchopenhauer, like Plato, regards this world as a manifestation wherein the essence is manifested; because behind the sensible, there is an inner and mysterious truth, the visible world is entirely subsidiary and dependent on it, and there is no intrinsic difference between this visible world and the essence for Schopenhauer, just as for Plato, there is no intrinsic difference between the natural world and the world of forms. Considering the degrees of existence and corresponding degrees and levels of knowledge, this world is a shadow of that world, and knowledge of this world is a degree of levels of cognition, and during the example, it is considered as the highest example. The essence or the being of the world for Schopenhauer is the will, but the will is not the same as the Platonic example because from Schopenhauer's perspective, the Platonic example, which is rational, is an intermediary between will as the essence and the visible. Whereas, Schopenhauer's will be not accessible to reason. This is where the role and position of art in Schopenhauer's philosophy become clear; because Schopenhauer, like Plato, believes in the epistemic function of art; because art for Schopenhauer is not the expression of emotions and feelings; rather, art is a particular understanding of reality. Art is directly and immediately, not with general and abstract concepts, seeks to reach the essence and being of the world, and with art as the power of inner thought, knowledge of the essence and will, namely, the inner and true reality of the world, is attainable. Therefore, Schopenhauer considers true art as the observation of the general and will. Furthermore, art can create a kind of deep thought in humans to free the mind from the captivity of desires and, as a result, transcend suffering and hardships in the superior world. Plato, considering the relationship between epistemology and ontology in art, like Schopenhauer, seeks to give authenticity to art. Plato, by raising the criterion of knowledge for the artist in creating an artistic work, shows that the arts, as it were, in different directions, are reflective of knowledge of truth and untruth. Therefore, for Plato, knowledge is the most important component in imitation; if imitation is based on ignorance and lack of knowledge, it has a reprehensible meaning, and imitation based on knowledge is desirable and preferred. Plato in the Republic considers imitation as a formative authority that can be multi-layered; that is, it can be close to the truth or far from it, and while being imitative, believes that to imitate well, one must know the truth. The closer an art is to the truth, the more valuable it is; therefore, any art indifferent to the truth is considered worthless.
philosophy
Amin Dorosti; Ahmad Ali Heidari
Abstract
Ancient Greek culture, philosophy, and art are very important to Nietzsche. Despite his highly critical and radical view of the entire Western cultural tradition, he always praises ancient Greek culture as the noblest human culture. His attention to the ancient Greeks is largely a consequence of Nietzsche's ...
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Ancient Greek culture, philosophy, and art are very important to Nietzsche. Despite his highly critical and radical view of the entire Western cultural tradition, he always praises ancient Greek culture as the noblest human culture. His attention to the ancient Greeks is largely a consequence of Nietzsche's central concern: the “crisis of nihilism”. Nietzsche seeks to eliminate nihilism through the creation of a Noble culture. His underlying idea of culture is Goethe's idea of “harmonious manifoldness” or “unity in diversity”. He emphasizes that in any era, a fundamental unifying factor can be the founder of a healthy culture; in his view, saints, philosophers, and artists are the main candidates for the foundation of culture. In this article, we try to show that in his first theoretical attempt to create a Noble culture, Nietzsche chooses an aesthetic perspective (thesis), but this perspective isn't satisfactory, so he changes his perspective and looks at culture from a philosophical perspective (antithesis). The opposition and at the same time, the coexistence of these two perspectives leads to a "synthesis": the harmonious alliance of philosophy and art to create a culture. The embodiment of this synthesis is the “philosopher-artist”; one who has “knowledge” and “creativity” at once; “future philosopher”; a creator of new values! In this paper, we try to show that this synthesis doesn't lead to a third thing, different from thesis and antithesis, in which contradiction and conflict have been settled; instead, this synthesis is exactly the same simultaneous opposition and harmony of these forces. This unity of contradictory forces is a recurring concept in Nietzsche's thought.
Marjaneh Souzankar; Mohammadreza Rikhtegaran; Shamsolmolouk Mostafavi
Abstract
Heidegger believed that the essence of Art is the manifestation of unconcealment and he believed that what makes possible Art as Genuine Art is the essence of Art. He believed that Art in ancient Greece was linked to the realization of unconcealment and possessed by the possibility of existence, but ...
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Heidegger believed that the essence of Art is the manifestation of unconcealment and he believed that what makes possible Art as Genuine Art is the essence of Art. He believed that Art in ancient Greece was linked to the realization of unconcealment and possessed by the possibility of existence, but with the onset of the metaphysical age and over several stages, its connection with its essence has been disrupted and strayed from the possibility of existence. In other words, Heidegger considers the separation of Art from its essence, not suddenly, but slowly and gradually. This process began from Mimesis in Plato’s and Aristotelian ideas and continued to the concept of Aesthetics Experience in the early modern era. But he attributes the complete separation of Art from its essence to the later era of the modern age, a period when art has diminished to Artistic Occupations and has found itself as Technic. In his view, driving art into the realm of Technic has caused that genuine art departs from the possibility of existence.
nooshafarin shahsavan; mohammad javad safian; gholamali hatam
Abstract
The relation between Art and Truth in the history of western thought has been proposed since the advent of art theory in the Plato and Aristotle era. In the modern era, philosophers have also considered this relation. We know that there was a great deal of separation by Baumgarten, between Truth and ...
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The relation between Art and Truth in the history of western thought has been proposed since the advent of art theory in the Plato and Aristotle era. In the modern era, philosophers have also considered this relation. We know that there was a great deal of separation by Baumgarten, between Truth and Art with the advent of aesthetics in the modern era, and this separation got determined by Kant. But after him, thinkers such as Hegel tried to think about the relation of art and truth again. Of course, Hegel did not explicitly bring up the relationship between Art and Truth, but he considers Art as an appearance of "manifestations of the absolute" and dignity of its realization. Art is the first demonstration of absolute spirit. "What is the relationship between Art and Truth from Hegel's point of view? What is his perception and comprehension of the Truth? And how does he attempt to overcome the complete separation between Art and Truth (with his dialectics, of course) which has been brought by modern aesthetics?", are the main questions of this paper. The method of this research is the interpretative and content analysis based on the works of Hegel, his commentators, and other philosophers (related to the subject).
Nader Shayganfar; Zeynab Saber
Volume 11, Issue 43 , October 2015, , Pages 113-136
Abstract
The French phenomenological philosopher, Maurice Merleu-Ponty, tried to understand art works and related concepts taking recourse to phenomenological approach. In the new point, he tried to understand art by emphasizing on the being- in-the-world relying on perception’s term and it’s relation ...
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The French phenomenological philosopher, Maurice Merleu-Ponty, tried to understand art works and related concepts taking recourse to phenomenological approach. In the new point, he tried to understand art by emphasizing on the being- in-the-world relying on perception’s term and it’s relation to art. Based on the some of the concepts such as intentionality, living experiences, art style, establishing and etc. Merleu-Ponty wants to conceive a new interpretation from art. The museum is essential in Merleu-Pontyꞌs thoughts since it has deeply related with art affairs with relying on its history.
The main question of this article is that how relation between lived experiences and museum is. Based on Merleu-Pontyꞌs vital philosophy, this article concerns phenomenologically to critic the role of museum and indicates that the meaning of phenomenological establishing and storing is different from what is aiming in museum. This study targets the questions of how much honest are the museums in storing as well as how much this honesty is influenced by the social and cultural elements.
ahmad rahmanian; shamsol moluk mostafavi
Abstract
While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation ...
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While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation was done through techne and physis. In physis, now translated as nature yet having a broad connotation then as it covered the gods, the creatures came into being by themselves. In techne, they were, however, created by technites. Plato changed not only the Greek thinking but also its attitudes towards the art. According to Heidegger, eidos (idea) is innate and equal to ekphanes and ekphanestaton (what properly shows itself as the most radiant of all is the beautiful). By way of the idea, a work of art comes to appear in the designation of the beautiful as ekphanestaton. Heidegger goes on to consider this a main component of the aesthetic attitude towards the art. One would also recognize two other events in Platonic thinking which could be considered the origins of other components of aesthetics: separation of art and truth as well as separation of beauty and truth. As to on should necessarily be divided into aletheia (truth) and phainomenon (image), the artist is an on phainomenon, and the art and truth become separated. Following his ancestors, Plato draws similarities between to kalon (beauty), to agathon (good) and to alethes (truth) and considers beauty to belong to the realm of on phainomenon and truth to the realm of alatheia in Phaedrus. Therefore, the three mentioned aesthetic components are all rooted in the Platonic Idealism.
hasan bolkhari
Abstract
East theosophy and west philosophy have some foundatumental topics in common. One of these topics is the unity of existence which is one of the main subjects in Upanishads and appears frequently in Greek philosophy, especially the views of thinkers like Anaxagoras, Plato and Plotinus. Hindu thinkers ...
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East theosophy and west philosophy have some foundatumental topics in common. One of these topics is the unity of existence which is one of the main subjects in Upanishads and appears frequently in Greek philosophy, especially the views of thinkers like Anaxagoras, Plato and Plotinus. Hindu thinkers and Greek philosophers have much in common in the subject of Art and Beauty. The prevailing idea of Mimesis as the essence and nature of Art in views of philosophers like Plato, Aristocrats and in particular, Plotinus appears in Hindu theosophy as the Sadrsya. Likewise, the Sadrsya means resemblance and mimic but the one which concerns heavenly images and upon which rely asceticism, worshiping and particularly, Yoga. This particular approach is largely connected with Plotinus’ ideas in Enneads. He regards Art as the mimic of the sensible images and represents moral and spiritual methods for realizing it. This paper is a comparative study of the views of Ananda Koomara Swamy in explaining and interpreting the theory of Sadrsya and that of the Plotinus regarding Art and the spiritual divine nature of it.
ahmad ali heydari
Abstract
In this paper, it is tried to consider the characteristics of the artistic understanding and to propound a proper answer to the question that “what is the art?” Since, this answer involves the element of value, the status of this element in the views of thinkers such Kant, Hegel, Adorno and ...
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In this paper, it is tried to consider the characteristics of the artistic understanding and to propound a proper answer to the question that “what is the art?” Since, this answer involves the element of value, the status of this element in the views of thinkers such Kant, Hegel, Adorno and Heidegger are considered. The main conclusion of the paper is that Heidegger’s artistic conception enjoy characteristics relying on which we can prepare an area for conjoining different philosophical views about the value of the art and the works of art that gathering them together may seem very problematical.
