فیزیوگنومی یا چهره شناسی و انعکاس آن در نقاشی و ادبیات (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فیزیوگنومی شیوه ای است که با مشاهده ظاهر و خصوصیات چهره، شخصیت و ویژگی های شخص را بیان می کند. نشانه های درونی را می توان به وسیله فیزیوگنومی از حالت و ویژگی های چهره شناخت. هدف مقاله بررسی ارتباط فیزیوگنومی و ظهور آن در نقاشی و ادبیات است. برای رسیدن به این منظور به تبیین نظری فیزیوگنومی، نویسندگان ادبی و هنرمندان این حوزه پرداخته شده است. بسیاری چهره شناسی را یک نوع از علوم همچون ستاره شناسی می دانند، همانطور که ستاره شناس می تواند سرنوشت دنیا و افراد را از روی ستاره ها پیش بینی نماید؛ چهره شناس نیز می تواند از روی فرم، حالت و خطوط چهره به شخصیت فرد دست یابد. در دوران رنسانس، فیزیوگنومی با ستاره بینی ترکیب شده و با آثار دلاپورتا(فیزیوگنومی انسانی) پیچیده تر و در ادبیات پزشکی ظاهر شده بود. از نتایج تحقیق این است که فیزیوگنومی را باید علم میان رشته ای آمیخته از ریاضیات، هندسه، فلسفه، ستاره شناسی، طالع بینی و هنردانست و به آن نگاه کرد. بیشتر نقاشانی که در این حیطه فعالیت داشتند شیوه کاریکاتور را به کار می بردند که در واقع ریشه در فیزیوگنومی داشت؛ بنابراین کاربرد مفهومی اصطلاح کاریکاتور فیزیوگنومیک برای آن مناسب تر به نظر می رسد. روش تحقیق مقاله توصیفی است.Physiognomy and its reflection in Literature and Painting
Physiognomy is a manner that appears personality and characteristics of individual by observing the physical appearance especially facial features. Notions of the relationship between an individual's outward appearance and inner character are historically ancient, and occasionally appear in early Greek poetry. This paper explores the relationship of Physiognomy and its appearance on the art (painting) and literature. To achieve this purpose, it has been studied the theoretical explanation pseudo-science of Physiognomy, literary writers and artists in this field. Some people recognize Physiognomy as a kind of sciences such as astronomy, just like the astronomers can predict the fate of the world and people from the stars; Physiognomiste can also be achieved personality by the form, mood and facial lines. The pseudo-science of Physiognomy was considered in antiquity by the philosophers and scholars, some have been agreed, some opposed and some critiqued. Many writers have used this pseudo-science in his stories and novels, even some who may not believe it had to rely on their unconscious. This happened in art illustration and painting. The books of Johann Kaspar Lavater or Jiambattista Della Porta and others were illustrated by illustrators to introduce Physiognomy and precise understanding and comparison with the faces of famous characters or type in the general population. Johann Caspar Lavater is known specifically for his celebrated book in Physiognomy, where a person's physical observations and especially his face, allowing to be known the character and his moral feelings. Lavater’s book was much criticized by some philosophers. In antiquity, some philosophers and scientists believed that there are similarities between humans and animals. Painters on an individual basis have illustrated their experiences in this regard that show the knowledge and understanding of their social: Leonardo Davinci, Michel Angelo, Thomas Rowlandson, Wenceslas Hollar, Charles Le Brun, and others. In the Oriental art has also a special place in the art of Physiognomy but was not known at this term. This style can be combined in some cases with Caricature art because the basis of both is on individual psychology and sociology. Therefore Physiognomy is a pseudo-science interdisciplinary that combined science of mathematics, geometry, philosophy, astronomy, astrology and art (notably painting and drawing). In Japan Science of physiognomy has been used to coordinate in describing personal characteristics of the face and illustrated and interpreted in different manuscripts and books. However, in Japan, Physiognomy was not known as a science but it was accepted as an art and has considerable cultural value. Chinese physiognomy or face reading (mianxiang) reaches back at least to the Northern Song period. In Iran, it can be seen in the art of face reading. One of the most important painters of his works who can be placed in this area is Ghias-e-Aldin Mohammad Painter, an artist who lived in Timurid period. His style in painting differs from other conventional Iranian painting methods. His most important feature is drawing characters and unusual creatures with strange faces and figures that include the Devil, beasts of prey, demons, blacks, Sufis and others.
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