خوانش بیش متنی چهار اثر برگزیده تصویرسازی کلودیا پالماروسی با پیش متن هایی از نقاشی ایرانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقاشی ایرانی به عنوان یکی از زیباترین جلوه های فرهنگ ایرانی_اسلامی، واجد ویژگی های بینشی، مضمونی و ساختاری است که آن را مورد توجه هنرمندان و پژوهشگران بسیاری قرار داده است. کلودیا پالماروسی، تصویرساز ایتالیایی معاصری است که پیش متن چهار اثر شاخص خود را طی سال های 2015و2016 از نگاره های ایرانی برگزیده است. این گزینش بیش از همه براساس ویژگی های ساختاری نقاشی ایرانی صورت گرفته است. هدف از این پژوهش مطالعه چگونگی ارتباط میان این آثار پالماروسی و پیش متن های برگرفته آنها از نقاشی ایرانی است. این پژوهش درصدد پاسخ به این پرسش ها است که رابطه میان این آثار با پیش متن های خود چگونه تبیین می شود؟ و در فرآیند اقتباس این آثار از نگاره های ایرانی چه تغییراتی صورت گرفته است؟ این پژوهش با هدف بنیادی و به شیوه توصیفی_تحلیلی و تطبیقی است که با روش ترامتنیت و رویکرد بیش متنی صورت گرفته است. در جمع بندی نتایج این پژوهش می توان گفت که ارتباط میان متن های پیشین و پسین از نوع درزمانی و بینافرهنگی بوده و بیش متن ها با تغییر و تراگونگی در پیش متن ها ایجاد شده اند. فرآیند اقتباس آثار تصویرسازی پالماروسی از نگاره های ایرانی، اگرچه با توجه به ویژگی های ساختاری نقاشی ایرانی با تغییرات بسیاری چون تغییرات فرهنگی، روایی، نشانه ای، زمانی، جنسیتی، سنی و... همراه بوده، اما یک انتقال فرهنگی-هنری را درپی داشته است.Hypertexttualite study of four selected impressions of Claudia Palmarucci with hypertexts of Persian Painting
Abstract Persian painting is one of the most beautiful aspects of Islamic-Iranian culture, qualifying insight, content and structure features that have attracted attention of many artists and scholars, So that in written texts devoted to describing and analyzing it. But paintings and pictures by themselves, have been less imitated and adapted by western painters and artists. As it is not far from reality, to say that it has never been so and significant effect has been made in this context. Perhaps, its reason can be the result of main and important differences between Iranian and western paintings with respect to worldview, formal structure, content and sense, signal discipline, technics and manner and… Claudia Palmarucci, is Contemporary Italian imager that have chosen hypotext of four selected impressions of himself during 2015 and 2016 of Iranian painting Timurid and Safavid (9 and 10 AH). This selection is based on structural features of Persian painting. Therefore it can be said, this is the first time such an obvious adaptation of Persian painting was done by a Western artist. Hence, there is an attempt to study and evaluate how is the connection and interaction between desired texts, and also its resources and references with one of the most important methods and approaches in twentieth century in critics and review of literary and art works. This method which is assigned to relations between texts, is generally called intertextulite. The aim of this study is to explore the relationship between these works and hypotext of Iranian painting. This study seeks to answer this question that how the relationship between these works with self pre-text is explained. And what changes have been occurred in the process of adaptation of these works of Iranian paintings? This research is fundamental and descriptive-analytic and comparative and with Transtexualite method and has been done with the hypertext approach. In every connection between the text under review, relation between previous and next desired texts, with regard to time and inter cultural aspects, these previous and next texts have time duration with each other and cultural origins are different, which result in differences in pictorial properties of them. Moreover, some factors such as differences in cultural – art backgrounds and textures, difference in audience age and – also are factors of intra text which is effective on how these covering relations are accounted which all of these factors are as a whole basis of creating hypertexts by changing and transformation in hypotexts. These changes which are made by structural properties and formal pre-texts, have different shapes of transformation, and finally In summing up the results of this study, it can be said that derivation process works Palmarucci imagery of Iranian paintings, however, due to the structural features of Persian painting has been faced with many variations like Internal changes, cultural change, validity, sign, time, gender, age, …, but had followed a cultural-art transmission. Keywords: Iranian painting, Derivation, Claudia Palmarucci, Transtexualite, Hypertexttualite.
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