بازخوانی نگاره های حسین بهزاد با توجه به نظریه هرمونوتیک مدرن گادامر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در دوران معاصر با توجه به شرایط اجتماعی فرهنگی و اندیشه تجددخواهی و بازتاب فرهنگ و هنر غرب، نگارگران ایرانی به ویژه حسین بهزاد، در راستای احیای هویت و فرهنگ ایرانی-اسلامی به نگارگری گذشته رجوع می کنند. این تحقیق با هدف مطالعه نگارگری حسین بهزاد در دوران معاصر با بهره گیری از مفاهیم هرمنوتیک گادامر با رویکرد توصیفی- تحلیلی انجام پذیرفته و گردآوری اطلاعات آن با استفاده از منابع کتابخانه ای استو به این پرسش پاسخ داده است که، نحوه خلق آثار نگارگران این دوران تا چه اندازه با نظریه هرمنوتیک گادامر تطبیق دارد. نتایج نشان می دهد که مفاهیم هرمنوتیک گادامر، قابلیت شرح و بسط در نگاره های معاصر حسین بهزاد را داراست. هنرمند با گذر به افق معنایی روزگار صفویه به مکالمه با آن پرداخته و آن را با افق معنایی روزگار خویش که عصر جدال بین سنت و تجدد است، ممزوج، و اقدام به خلق اثرش نموده است. گادامر معتقد است، مفسر در این میان پیش داوری هایی که متناسب با دوره خودش است را در تفسیر دخالت می دهد و همچنین بافت و زمینه اجتماعی و فرهنگی نیز در خلق اثر مؤثر است که این مهم در نگارگری معاصر در تلفیقی که بین عناصر سنتی و غربی صورت گرفته قابل مشاهده است.Reading Hossein Behzad's miniature painting According to Modern Gadamer's Hermeneutic Theory
In contemporary times, due to social-cultural conditions and the idea of modernity and reflection of Western culture and art, Iranian painters refer to past painting so that revive Islamic Iranian identity and culture. Hossein Behzad is as the most significant contemporary painter of this period of time. This research which aims at study Hossein Behzad's miniature painting in contemporary times, using Gadamer's hermeneutic concepts with a descriptive-analytical approach and collecting information by using library resources, admittance is answered the question how much the painter's artwork of this era fit into Gadamer's hermeneutic theory. In this regard, he talks to the art of the Safavid period, and consider that the whole truth is not with him. Therefore, he enters elements of the Safavid art into his era, which entails a struggle between tradition and modernity. Since the thought of modernity and the reference to western art after the constitutional revolution in Iranian art and culture has proceeded, artists in the thought of reviving the identity of Iranian Islamic art have brought past miniature paintings, especially paintings of the Safavid and Herat schools, to revive traditional and national arts based on their contemporary art and culture, which is in accordance with Gadamer's hermeneutic theory. In other words, Hossein Behzad, according to Gadamer's modern hermeneutic theory, based on his prejudices, which is the result of the semantic horoscope of his time, talks with the art of painting in the Safavid school and with its Iranian Islamic influences. He corresponds to the semantic horoscope of his time, which has western influences, and finally creates an image that belongs to the time, culture and social conditions of his era and the formation of the style that belongs to him and his age. He paid attention to the anatomy and perspective and the principles of naturalism, which was immaterial in the Safavid school miniature paintings, and applied in a way that did not harm modern contemporary art and adapted to the horizon of his time. He appreciated the style of Reza Abbasi, who, to some extent, ignored the principles of Mongolian style from Iranian miniature painting and at the same time paid attention to design as an important part of painting. Meanwhile, we found the concepts of Gadamer's hermeneutic, that it can describe and expand in contemporary miniature painting, especially Behzad's artworks. The artist talks to the semantic horizons of Safavid period, and he is with the semantic horizon of our time, the age of conflict between tradition and modernity, create the artwork. The contemporary painter, referring to the past painting, especially the Safavid school, elements of Iranian art, bring that era to the pictures of his time. It is adapted and created by the semantic horizon of its age. Gadamer argues that the interpreter interferes with the prejudices that fit his own period in interpretation. As well as texture and social and cultural context are also effective in creating the work, this is important in contemporary miniature painting in the compilation between traditional and western elements.
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