مواجهه ی گفتمان هنری و اقتصادی در هنرهای تجسمی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
گفتمان اقتصادی و هنری با مؤلفه های مشابهی سر و کار دارند، اما اولویت آنها در هر یک متفاوت است. نگاه هنرمند و اقتصاددان به یک چیز متفاوت است، مثل تفاوت نگاه دوشان و یک صنعتکار به چرخ. این تفاوت، اقتصاد هنر را استثنایی می کند، به ویژه در هنرهای تجسمی، که با وجود قیمت بالا، یک اثر هنری به کالای اقتصادی تبدیل نمی شود. هدف این پژوهش، بیان تفاوت ها و شباهت-های سیستم هنر و اقتصاد و پرسش درباره قدرت و نفوذ هر یک بر دیگری است. این یکی از راه های آگاهی یابی از اقتصاد هنر است که با آن زمینه ای فراهم می شود تا ارزش هنری بتواند سهم بیشتری در اقتصاد داشته باشد. در این پژوهش از راه توصیف و تحلیل داده ها و با روش اسنادی تلاش می شود مواجهه ی دو گفتمان در هنرهای تجسمی بررسی شود. تاریخ هنرهای تجسمی با وجود تمایز تجربه زیباشناختی از تجربه خرید یک محصول هنری نشان می-دهد کشف ظرفیت های پنهان کار یک نابغه با گسترش تجربه زیباشناختی، مانند کشف الگوهای فراکتالی آثار پالاک، می-تواند ارزش اقتصادی آن را بالاتر ببرد. این موارد برآمده از قدرت نبوغ در هنرهای تجسمی نشان می دهد بیش از آن چه تصور می شود گفتمان این دو سیستم از هم دور و به هم نزدیک است.The Encounter of Artistic and Economic Discourse in the Visual Arts
Economy and art are important parts of culture and civilization. Economic and artistic discourses encompass the similar components, such as rationality, creativity, technique and intuition. But, their priority is different. In the modern society is important their functional independence. Functional differentiation of systems is the nature of the modern society. Economic motivations are prevail over any other human activity, but artistic activities are an exception. Artist motivation is inner. Therefore, econmic motivation can not take effect in him/her. For this reason art economics is an exceptional economy. That's mean can not be estimated that how much has earnings an artist. This feature is found in visual arts as well. Prices in visual arts are dependent on several factors such as the name, style, historical identity and nationality of artists on one hand, and critics and dealars on the other hand, and most importantly sometims passing of time can be the most important factor. Sometimes interval can be the greatest of chance to broaden its aesthetic experience from an artwork as we have seen in Pollock’s works. The buyer of art is other than its audience. Then, a buyer enjoyed from its economic value but an audience enjoyed from artistic values. Of course artistic value can raise economic value, for example the discovery of fractal patterns Pollock’s works. However, one can not estimate in any stage of production of a paintinr or sculpture because it is that art structural features require that art don't put its hands in the hands of economy directly. The relationship maintains the independence of art. Art has always been to maintain its longtime respect is fought by artists such as Duchamp that created some of works against the commercialization and mechanical reproduction. Despite all the changes art system has not changed its nature of structural. The sturcture of art don't have a goal unless maintaining of the continuity of its life. Now persistence of exceptional aspects of the art economy does not allow an artwork becomes an economic object, and this more is realized in the exceptional economy of visual arts. This paper tries to express the conditions of encounter of art and economy in visual arts and their similaries and differences. There is growing international interest in the potential of the cultural and creative industries to drive sustainable development and create inclusive job opportunities. In these conditionsif art to be removed, then a large number of people get jobless. This means that art and economy are equally importatnt for society. The method of this research is description and analysis data that finaly show cultural productions can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing, advertising and fashion Cultural industries can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing and fashion which play an important economic role but not entirely subdued economy.
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