بررسی مؤلفه های تعاملی فرم و متن در ساختار زیباشناسانه آثار نقاشی ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آنچه نگاره های ایران رادرکنار دیگر ویژگیهایش متمایز از نقاشی های هم عصر خود و حتی پس از آن معرفی می نماید، نوع نگرش هنرمند در شرح موضوعاتی با بنمایه های تخیلی،افسانه ای، تغزلی و تاریخی و تعامل زیباشناختی میان متن و فرم وبسط مفهومی اثر است که با طرح سوال اصلی پژوهش یعنی؛ چگونگی وجوه زیباشناختی فرم متن نوشتاری و چیدمان وترکیب آن درکادر و عناصر بصری اثر، به مطالعه آن می پردازد. در مقاله حاضر، ضمن بررسی عناصر بصری و ساختار زیبایی شناختی نگاره ها، تلاش شده تا با مطالعه چگونگی تعامل مولفه های بصری فرم ها و متون ،تاثیر زیباشناختی، محتوایی و معنایی نوشته ها در کنار نقش ساختاری و تعاملی آنها، موردپژوهش و ارزیابی قرار گیرد که به نظر می رسد، هنرمند از این تعامل به عنوان کیفیت بصری در نگاره ها بهره برده است و بر این اساس محقق گردید که نگرش محققین و هنرمندانی که نگاره های ایران را صرفا تصویر سازی متون و مرتبط با متن می نگرند، فرض درستی نیست و نگاره هایی که هنرمند در کمپوزیسیون آنها متن را با دقت خاصی گزینش نموده است میان متن وفرم نوشتاری رابطه معناداری وجود داشته و از تعامل بصری ویژه ایی برخوردارند.The study of form &Text interactive factors in aesthetic structure of the Iranian paintings
The principal aspect of the Iranian paintings which makes them different from their contemporaneous works and also distinctive from its posterior ones would be the Artist's intention in creating aesthetic interactions between text and form as well as developing comprehensive theme of the same works. In fact the artist has done a great deal to use imaginary, fictional, lyric and historical events in the arrangement of his artistic composition to qualify his work (textual forms) from aesthetic points of view. The present research tries to study the answer to the most important question which asks about the quality of aesthetic aspects of form & text , their arrangement and composition in a framework whilst insists on interactions between text form display and aesthetic aspect of the same work. As a matter of fact, if the mentioned topic is to be studied through another outlook, it could be also studied if the presence of text in these paintings have been intentionally manipulated to attract the spectator's attention and concentration simultaneously to the image (text and form) to develop aesthetic scope of the same work, or the artist's effort to construct an imaginary balance of the work and the spectator's imagination capabilities have been viewed in the same artistic work? But, it seems that the artist has utilized this interaction as a visual quality in his work. So, in the present article it is tried to verify visual and aesthetic elements of the works while studying the visual factors of text and form to find aesthetic layers if the same work. By taking the above mentioned assumption into considerations, the aesthetic, context and comprehensive effects of texts have been assessed and studied. These studies besides the other structural and interactive roles of text and form in the selected works were instructed to hypothetical results. Therefore, it was understood that the view of specialists and artists who observe the Iranian paintings as the only textural imaging related to the text is not true! Furthermore, the analytical study of text and form and their qualitative and quantitative relations in creating a work with national characteristics had been the other aims of this research. So, in line with the present study two types of paintings were verified and assessed from the aesthetic and qualitative points of view. it seems that those paintings in which their artists have selected and arranged the text as a special composition are of particular visual interaction and comprehensive relation and if they are compared with the other works which their artist have used the text as the only textural elements among the image, the said provision could be sensed better. Thus, if these interactions in the Iranian paintings are analyzed and assessed through some assumptions that the whole artistic work is composed of color, text and form with their interactive relations, then you can find out the significance of the present research about the quality of interactive relations between text and form factors in the Iranian paintings.
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