بررسی سبک شناختی هنر شمایل نگاری بیزانسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر شمایل نگاری بیزانسی، به عنوان یکی از مهمترین صور هنری منتج از دین مسیحیت، که البته هنری مقدس نیز محسوب می گردد، در تمامی دوران هزار ساله استقرار امپراطوری روم شرقی - به جز دوره صدساله نفاق شمایل شکنی- همواره از جایگاه و اهمیت ویژه ای در جامعه بیزانسی برخوردار بوده است. به طوری که باید آن را آیینه ای تمام نما از اندیشه و تفکر حاکم بر مسیحیت ارتودوکس، که دین رسمی این امپراطوری محسوب می شد، دانست. با این وجود و به رغم پیوند تنگاتنگ این هنر با الهیات مسیحی و جزمیات حاکم بر آن و به ویژه اساسی ترین آنها یعنی تجسد کلمه الهی در قالب تصویر، این صورت هنری به خوبی توانسته است از عهده انعکاس بسیاری از جنبه های زندگی سیاسی، اجتماعی و حتی عقاید عامیانه مردمان جامعه عصر خود که البته همواره جنبه ای دینی- مذهبی نیز داشته است، برآید. مقاله پیش رو در واقع تلاشی است برای نه تنها بررسی سبک شناختی این صورت هنری، بلکه همچنین کوشش خواهد نمود تا با تکیه بر روش تاریخی- تحلیلی، پیوند تنگاتنگ آن را با زندگی روزمره مردمان این جامعه و حوادث و رخدادهای اجتماعی-سیاسی آن در طول قریب به هزار سال استقرار این امپراطوری نشان دهد.The Stylistics Study of Byzantine Iconography
Byzantine iconography, due to the theoretical content ruling on it, has provided a close and fundamental link with Christian theology and the resolutions ruling on it, especially the most fundamental ones, namely incarnation of word in the form of picture. However, this artistic form has been able to show a good reflection of many aspects of the social life and even the popular beliefs of its society. Witness of this affair, is clear cognitive style changes that this artistic form has been developed through nearly a thousand years of its life. This shows the possibility of examination of this artistic form, in terms of cognitive styles in different periods and topics. Hence, the writer, based on the historical course of Byzantine civilization, has counted four fundamental periods for the life of this artistic form in the lap of Byzantine Empire: the first golden age, iconoclasm hypocrisy, the second golden age, the third golden age. The first golden age of Byzantine art has begun with the throne of Emperor Justiniane1 (525-567). The man that has increased the wealth and territory of the empire to its highest level in the history of Eastern Roman Empire and has provided a promotional setting for arts including iconography. Nevertheless, and despite of the specific brilliance of Byzantine art in this era, few icons have survived. That is because of the famous event of iconoclasm hypocrisy (726-843); a hundred years old period, during which most of the left icons of the first golden age, have been burned in the anger of iconoclasts or have been destroyed or disappeared in many ways. With the evening of iconoclasm hypocrisy era, and the throne of the first king of Macedonians, the second golden age of Byzantine art has begun (867-1204); a period during that two important and fundamental styles in iconography, have blossomed: Macedonians style and Comnene. Although two styles are both the product of a relatively stable and continuous period, but both show different traits and characteristics. The era that had ended with the invasion of Crusader brigades and the occupation of Constantinople in 1204. Short interval of capital occupation that had come to end with the dominance of Byzantine army on Crusaders in 1261, has built up its apparent impact on the art of iconography in the third golden age of Byzantine art (1261-1453). The era that has begun with the renowned throne of the Komnenian emperors at the Constantinople in 1261. This period that slightly has lasted less than two centuries, was the witness of a unique style in iconography that should be considered as a renaissance in Byzantine iconography. The era that apparently had ended with the invasion of Ottoman Turks to the emperor capital and occupation of it in 1453; in practice, has provided a sustainable and promotional setting of this artistic form in Russia and many Eastern European countries for nearly four centuries and has left its clear and decisive impact on the art of Renaissance Italy.
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