تبیین جایگاه اجتماعی هنرمندان عصر صفوی بر اساس آرا ء آرنولد هاوزر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگارش تاریخ هنر بر مبنای معرفی هنرمندان در دوره صفوی، نشانگر آنست که موقعیت هنرمندان کتاب آرای در مقایسه با ادوار پیشین تغییر کرده است. آرنولد هاوزر از جامعه شناسان هنری معتقد است، که تعالی اجتماعی هنرمند هنگامی رخ می دهد که وی به استعداد ذاتی خویش آگاه باشد و از کارگر ماهر(مقلد از استاد) گذر کند. نقاشان در طول تاریخ هنراسلامی همواره به عنوان صنعتگر ماهر هنرنمایی کرده اند، در اینجا مفروض است که در دوره صفوی در هیأت و مقام هنرمند، جلوه گر شده اند. این نوشتار با استناد به نظریات هاوزر، در پی استخراج مؤلفه های مؤثر بر جایگاه هنرمندان نقاش از منابع مکتوب این دوره است تا بر مبنای آن مؤلفه ها به این سوال پاسخ دهدکه آیا نقاشان عصر صفوی از فردی به عنوان صنعتگرماهر به جایگاه هنرمندی دست یافته اند یا خیر؟ این پژوهش با روش تاریخی تحلیلی، در زمره تحقیقات توسعه ای قرار می گیرد که با استناد به منابع تاریخی و کتابخانه ای انجام شده-است. بر اساس نتایج به دست آمده، مواردی که هاوزر در شکل گیری و تغییر وضعیت هنرمند موثر می داند را به طورکلی می توان با جامعه صفوی انطباق داد. هنرمندان دوره صفوی از استعداد و نبوغ ذاتی خویش آگاه بودند و این خودآگاهی، اعتبار، احترام، شهرت و ثروت را برای آنان به ارمغان می آورد.Explaining the Social status of the Safavid artists based on Arnold Hauser's Opinion
Writing art history based on the introduction of artists in the Safavid era, also the attention to the artist's individuality and his reverence in the books of general history points to the fact that the position of artists of the book designing in particular of painters has changed in comparison with the previous Safavid era. Arnold Hauser of art sociologists believes that the social excellence of the artist occurs when the artist is aware of his intrinsic talent and moves on from a skilled worker who has always tried to imitate his master. He states that artists with social security and economic stability can experience a relatively long-term social status. It seems that painters have always been featured as skilled craftsmen during the history of Islamic art, but according to the history of written art in the Safavid era, it appears that this community as an artist in Golestan Honar and General History Books shown. Based on the written sources of this period, and based on the views of Arnold Hauser, this paper seeks to extract the components that influence the position of painter artists on the basis of which the components prove that: Is the Safavid painters from a person as a skilled craftsman Has he achieved the status of an artist? This article aims to provide a clear and vivid picture of the status of artists( Artists mentioned in their written sources of the history of Safavid art as artists of the book designing) in the Safavid era society. In this regard, the status of the artists in the course is based on Arnold Hauser's sociologist's opinion. This research is based on a historical analytical method of development research and, based on historical sources and library method, concluded that: things that Hauser considers effective in the formation and transformation of an artist is generally not in Details can be adapted to the Safavid community. According to Hauser's indices and their correspondence with the components that Safavid historians have been referring to artists, it can be inferred that both the artists of the book of the Safavid periodicals and the historians were aware that the artist was due to talent And the intrinsic genius that made him distinct, created artwork. It made self-awareness, heresy and freedom of action in the art, and then brought it credibility, respect, fame and wealth to the artist. It can be inferred that the artists of the book of the Safavid period came from the skilled worker to the status of the artist. The history of the Safavid era has always been researched from the perspective of the content and structure of the researchers, but less than this angle. Study of the indicators that affect the social conditions of the artists will lead to a better understanding of the Safavid art and will clarify the dark angles of Iranian art history in relation to artists for future researchers. Additional supplementary information added from this article also adds to the research already done
تبلیغات
