Volume 14, Issue 27 (3-2024)
mth 2024, 14(27): 0-0 |
Back to browse issues page
Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
Afarin F. (2024). Comparative analysis of effective criteria on the system of arts in the aesthetics of Kant and Deleuze with an emphasis on painting. mth. 14(27), : 5
URL: http://mth.aui.ac.ir/article-1-1977-en.html
URL: http://mth.aui.ac.ir/article-1-1977-en.html
Associate Professor, semnan university, Iran. , f.afarin@semnan.ac.ir
Abstract: (5926 Views)
The problem of the upcoming research is that two thinkers, one Kant from the 18th century and the other Deleuze from the 20th century, with different ways of thinking, with what criteria and how do they look at the system of arts? What results does this approach reveal about their relation to philosophical issues? The results of the research, based on the descriptive-analytic method, show that the most important criterion for Kant as a transcendental idealist is the expression of the aesthetic idea in the arts. Artistic painting is spatial, its perception is visual. The symbols provide an opportunity to think about the aesthetic idea. In terms of expressing the idea, it creates a hierarchy that is placed first in poetry and then painting with its derivatives. Kant validates the effect of arts on the audience of the artistic work with the criterion of aesthetic idea and presents the system of arts based on that. With Deleuze, as a transcendental empiricist, an inter-artistic concept like rhythm is considered. Due to this concept, painting is a temporal art. Deleuze discusses forces, that is, the intensity of matter. Receiving such an affect is done with a body without organs. In his opinion, one can think with painting, not through symbols to be connected to another field, but through the specific logic of painting, visual concepts, diagrams, or the relations of forces that emerge from the heart of the catastrophe based on the disruption in painting. With the criterion of rhythm, force and intensity and sensitivity of the forces as the material of the artwork, Deleuze simultaneously emphasizes how the artist's artistic creation and the place of the audience in the field of the artwork's force. His attitude to the arts is not hierarchical, so he regulates the gradation of the arts.
Article number: 5
Type of Study: Research |
Subject:
Visual Arts
Send email to the article author
| Rights and permissions | |
 |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. |
