topographic - based model of the creative art through revolutionary culture in iran

if we accept this idea that in talking about art, there is a chasm between thought and unthought debating on art theory in the sociohistorical context of after revolutionary iran requires at least two items in which understanding and creating art meet one another: 1) art as door separates intelligible from sensible, rational from irrational, and logos from pathos as well and 2) art as bridge not only joins together the sense and mind, but also folds and concocts these two areas of human being life. doors divide lands into ostensibly independent parts. by doors we can recognize ‘out’ and ‘in’. but the bridges links the land with another land in spite of the geographical limitations like water, rocks, etc. according to door metaphor, art makes a borderline between thought and unthought. artists begin their activities based upon unconsciousness the social and political status quo have effect on them indirectly. reversely, the bridge metaphor refers to unthinking thought and thinking unthought aspects of art creating. thus, changing the frame of reference polarizes the entire art issue. after revolution, these two dimensions of art have been amalgamated in a concept named: ‘culture’.simultaneously, culture has partially covered the variety of art activities and necessarily constituted an identity-centered front against the others’ cultures. in the nation-state, art supports the idea of unity. out of the nation-state, art initiates itself as the particular characteristic of our own culture among the other cultures. apparently, the ambivalent usage of the culture culminates the polarization between creating and understanding art. argumentatively, this paper attempts to deduce a model of theoretical basis by using contemporary aesthetic achievements toward reconciliation the conceptual thought with perceptual art creatively.