Thirteenth International Conference on The Arts in Society

Abstract

The purpose is to make it more conceivable and further tangible for a Persian receiver. It is discernible that the geometrically entwined structure of inscriptions in Vasarely’s art formed with respect to calculation and connections with mathematical proportions. Such illustration of dimensions entails an organized expansion and divergence. Similarly in symphony number 5 there are symbols of motion, opposition and toil going from the first movement in C minor to joy and glory concealed in the Final movement in C major which is the peak of the whole symphony. It is also longer and dynamically more intense than the first movement and throughout the flow of the musical composition from one movement to another again there seem to be a mathematical divergence and expansion. To such degree it is possible to compare this symphony with movements and genres of visual art such as op art and uniquely that of Vasarely’s. The long term goal of the research includes discovering similitude points between Symphony No.5 and Vasarely’s paintings along with reflecting repetition and motion in both music and painting. This article attempts to answer the question of whether the aesthetic signs or the realm in in vasarely’s work are in a way at the same level or influenced by Beethoven’s 5th symphony? Hereupon, advantaging from an analytic-descriptive method the study will proceed towards finding a few of the likeness points in such examples observing both referential and fieldwork information-gathering.