نگاه در نقاشی از منظر پدیدارشناسی مرلوپونتی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگاه، مجرای رویارویی هنرمند نقاش و نیز مخاطب اثر نقاشی با آن است. این مواجهه، نوعی تجربه ی انسانی است که از منظر هنرمند نقاش به هنگام خلق اثر، همچنین از ورای مخاطب در زمان نگریستن به نقاشی قابل بررسی است. سؤال اصلی در این پژوهش، این گونه مطرح شده است که نسبت نگاه با تجربه ی زیسته ی هنرمند نقاش، نیز درگیری آن با بدن زیسته ی مخاطب و خالق اثر در ادراک نقاشی چگونه است؟ بر همین اساس ماهیت آن، به عنوان نوعی از تجربه ی زیسته که رخدادش منتج به ادراک بصری و به طور خاص دریافت اثر نقاشی است، مطرح گردیده است و در باب بدن زیسته نیز، نگاه به عنوان جزء ساکن در آن، مورد تحلیل و تأمل قرار گرفته است. در نهایت با استفاده از رویکرد پدیدارشناسی، به شیوه ی توصیفی- تحلیلی و بر اساس شواهد موجود در آراء و نظریات فیلسوف پدیدارشناس فرانسوی، موریس مرلوپونتی، وجود ارتباط نزدیک بین تجربه ی زیسته ی هنرمند نقاش و نگاه او نتیجه گیری شده است. بر اساس یافته های این پژوهش باید گفت، نگاه، نوعی از تجربه ی زیسته بوده است و به هنگام مواجهه ی مخاطب با اثر نقاشی، بدن زیسته ی او را درگیر می سازد؛ لذا به عنوان جزئی از آن، در بدن زیسته سکنا خواهد داشت.The Look in Painting, According to Phenomenology of Merleau-Ponty
The Look, in the close meaning, is the channel of the encounter or the gateway of confrontation for an artist such as a painter and the audience or the viewer of the art work to a painting work, which can be viewed definitely as an especial human experience, from the view point of the painter or the artist during the whole process of the creation and making an art work such as the painting work, as well as from the view point of the audience of the art work or the painting at the definite moment of the looking or the gazing at the painting work. The main and the typical chief question about the Look in the painting, which would be supposed to be answered as well, closely regards to the output results which would be come from this recent study had been completely about the close and direct correlation between the Look in the painting and the Lived or the Living Experience of the painter or an artist(as an human being) as well as his or her involvement with the Lived or the Living Body of the audience or the viewer of the art work such as a painting, so as the painter or the artist, who is the creator of the art work as well, in the act of the painting work perception or the reception from the painting work. According to this fine point of view towards the nature of the Look in the painting, it had been also described specifically as a kind of Lived or the Living Experience, which would be eventually resulted in the Visual Perception, as well as specifically in the perception of the painting work. So that, totally it would be seen regards to the Lived or the Living Body, the Look in the painting as a stable component or part it, had been considered and analyzed. Regards to the Final outputs of this research, by the use of the phenomenological approach, in a definitely descriptive-analytical method and at last, based on the evidences which would be contained in such a famous French contemporary Phenomenologist Philosopher, Maurice Merleau Ponty's point of views, the existence of a close correlation between the Lived or Living Experience of the artist painter and his or her Look in the painting had been consequently deduced and shown. According to the recent study, it should be clearly said, the Look in the painting is a kind of Lived or the Living Experience for an human being, and when the audience of the art work, such as a painting, encounters closely with an art work or a typical painting work, the Look completely engages his or her Lived or the Living Body; So it could be derived from all of these points, that as a part of it, the Look at the painting should be lived and should be consequently resident in the Lived or the Living body.
تبلیغات
