تحلیل آثار گرافیتی در ایران طی دهه های 1380 و 1390 شمسی از منظر نشانه شناسی اجتماعی
آرشیو
چکیده
بیان مساله: گرافیتی یکی از شیوه های هنری نوین است که پیوندی تنگاتنگ با تحولات اجتماعی در جوامع معاصر یافته است. . با وجود این که بسیاری از آثار گرافیتی در ایران تا حد زیادی متاثر (و یا کپی) از نمونه های خارجی به تصویر درآمده اند، در برخی آثار شاهد آن هستیم که هنرمند با ارجاع به نشانه ها و نمادهای رایج در فرهنگ ایرانی، گونه ای نقد اجتماعی را در واکنش به تحولات جامعه ایرانی در اثر خود بازتاب داده است. لذا مساله اصلی در پژوهش پیش رو چگونگی بازتاب مسائل اجتماعی در آثار گرافیتی ایجاد شده در خیابان های ایران طی دهه های ۱۳۸۰ و ۱۳۹۰ شمسی می باشد.هدف: هدف اصلی در این پژوهش تحلیل برخی آثار گرافیتی در ایران دوران معاصر از منظر نشانه شناسی اجتماعی است.سوال: گرافیتی در ایران از منظر نشانه شناسی اجتماعی از چه شاخص ها و ویژگی هایی برخوردار است؟روش: روش این پژوهش از نوع کیفی می باشد و با رویکردی توصیفی تحلیلی مبتنی بر نشانه شناسی اجتماعی به انجام رسیده است. گردآوری داده ها از طریق مطالعات کتابخانه ای و جستجو در منابع اینترنتی صورت گرفته و در انتخاب نمونه ها سعی شده بیشتر به آثاری پرداخته شود که به مضامین اجتماعی در آنها توجه بیشتری نشان داده شده است.نتیجه گیری: نتایج حاصل از فرایند انجام این پژوهش نشان دهنده آن است که هنرمندان گرافیتی در ایران همچون سایر نقاط جهان به لحاظ جامعه شناختی مسائل و چالش های اجتماعی فضای زیسته خود را در آثارشان مطرح کرده و هر یک به شیوه خود به آنها واکنش نشان می دهند.Analysis of graffiti works in Iran during the 1380s and 1390s from the perspective of social semiotics
Image structures, like common language structures in any society, refer to specific interpretations of communication experience and various forms of social interactions. These interpretations and interactions can be expressed in a linguistic way. Rather than being dependent on specific semiotic practices, meanings belong to specific cultures, and the ways in which meanings are embedded in the corpus of semiotic objects - either linguistically or pictorially, or a mixture of both - depend mainly on culture and historical period. They mean something.Graffiti is one of the new art methods that is closely connected with social developments in contemporary societies. In a general definition, graffiti refers to depicting patterns, shapes, letters, visual symbols and image patterns on walls or any public place that can be used as a place to write, paint, carve and draw. In fact, graffiti is considered a tool for expressing social desires and wishes, a way for dialogue between different classes of society, a tool for advertising in an artistic way, and also a tool for beautifying urban spaces. Therefore, in examining the majority of graffiti works, we see that many symbolic visual elements and social symptoms are used to express the themes of the artist. In Iran, during the last two decades, this art has seen various manifestations in some streets of big cities, and its growth can be considered parallel to the growth of rap music among the young generation in these years. Despite the fact that many graffiti works in Iran are largely influenced (or copied) from foreign examples, in some works we see that the artist makes a kind of social criticism by referring to common signs and symbols in Iranian culture. In response to the developments of Iranian society, he has reflected in his work. Therefore, the main issue in the upcoming research is how to reflect social issues in the graffiti works painted on the streets of Iran, and in this regard, it is tried to approach the opinions of thinkers in the field of social semiotics. The analysis of some noteworthy works in this field will be discussed.Considering the special importance of graffiti art in expressing current social themes in any society, the present research is dedicated to the semiotic analysis of graffiti works in Iran during the 1380s and 1390s. In this research, which was carried out in a descriptive analytical method and based on field observations, firstly, it was discussed about "types and applications of mural painting and mural painting", "background and evolution of mural painting in Iran" as well as general information about "street art and "Graffiti in the contemporary era" explains the basics of research. Then, in the research findings section, themes and social approaches in the works of four famous graffiti artists in Iran, including "Blackhand", "Nafir", "Mirza Hamid" and "A1one" have been analyzed in separate sections. The result of the mentioned process shows that graffiti artists in Iran, like in other parts of the world, sociologically raise the social issues and challenges of their living space in their works and each of them reacts to them in their own way. Some graffiti artists such as Blackhand and Nefir pay attention to some current events and news in the society and react to them with an ironic and metaphorical statement. Some others, like Mirza Hamid, express a more general attitude towards the existing mechanisms in society in their works and somehow question its generality. Some others, such as "Tanha", have tried to reflect a kind of Iranian identity in their works through the use of local and historical visual elements (such as Persian calligraphy).Graffiti in general has a modern nature and a universal language and cannot be explained in relation to a certain geography. The expansion of communication with the help of social media in the contemporary world has caused many artists in every corner of the world to apply similar approaches to their works. In Iran's graffiti art, aspects of being influenced by foreign examples are quite evident, although in the examples examined in this study, the artist often tried to express issues related to Iranian society in his works.Finally, it is necessary to point out that due to the informality of graffiti art and the short life of most graffiti works, their analysis and classification in the field of research is accompanied by many challenges, and conventional academic methodologies in examining this type of art face various limitations.
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