مطالعه ترامتنی فرهاد در مجسمه های مسی پرویز تناولی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فرهاد در خمسه نظامی، سنگ تراش عصر خسروپرویز ساسانی است؛ از نظر تناولى او نخستین پیکرتراش تاریخ ایران است. در مجسمه های تناولی، فرهادکوهکن با شخصیتی متفاوت از متن کلامی در قالب مکتب سقاخانه پا به عرصه آثار هنری نهاد. هدف از این پژوهش: کشف وجوه افتراق و اشتراک شخصیت فرهاد در خمسه نظامی و واکاوی معانی در لایه های پنهان فرهاد در مجسمه های مسی تناولی است. این پژوهش با رویکرد ترامتنیت ژرار ژنت و به روش توصیفی-تحلیلی با رویکردی تطبیقی به شناسایی فرهاد در پیش متن و تفسیر فرهاد در بیش متن پرداخته است. این پژوهش با گردآوری داده ها به شیوه اسنادی و مطالعات کتابخانه ای با روش تطبیق و تحلیل بینانشانه ای و با رویکرد ترامتنیت ژنت صورت گرفته است. سؤالات پژوهش شامل: الف: فرهاد در خمسه نظامی به عنوان پیش متن و فرهاد در آثار تناولی به عنوان بیش متن چگونه قابل تفسیر بوده و چه نقاط اشتراک و افتراقی میان آن ها وجود دارد؟ ب: تناولی در آثار خود تا چه حد به شخصیت فرهاد در پیش متن وفادار بوده و افزوده های هنرمند در بیش متن با چه معانی و مفاهیمی توأم گشته است؟ از نتایج پژوهش اینکه در بینامتنیت، ارجاع لفظی و صریح وجود دارد. در رابطه پیرامتنیت با عناوین انتخاب شده، دریافت مخاطبین از متن تصویری جهت دهی شده و در بیش متنیت هنرمند در خلق شخصیت فرهاد به تراگونگی در گونه تراوستیسمان پرداخته است.Transtextual study of Farhad in Parviz Tanavoli's Copper Sculptures
The Iranian famous artist Parviz Tanavoli in order to keep the name of his teacher alive has chosen Farhad Kohkan from Iranian literature as a subject for his sculptures. He has mixed the figure of Farhad with Saqakhane water taps, locks and windows of blessed places in his art works. In this way he connected thoughts and beliefs of a nation with his own taste. There is a mixture of intellectual approach and modern art devices which has also received the praise of traditional art fans. When facing these statues, a little proximity to the human body can be found. These sculptures are attributed to Farhad, due to the expression of the artist and the naming of the works. This research examines the differences and commonalities of Farhad's character in the Nizami story and Tanavoli sculptures. Analyzing the meanings in the hidden layers of Farhad's personality in Tanavoli's works is another goal of the research. The research questions are: 1. How can Farhad in Khamsa Nizami be interpreted as hypotext and Farhad in Tanavoli's works as hypertext and what are the points of commonality and difference between them? 2. To what extent has Tanavoli been faithful to Farhad's character in hypotext and what are the meanings and concepts of the artist's additions in Hypertext?This research is based on a descriptive-analytical method with a comparative approach. The method of analyzing works is qualitative. Parviz Tanavoli has 15 copper sculptures related to Farhad Kohkan, among which 9 works were selected as research samples in a non-probabilistic way.The results of the research show that the words Parviz and Bulbul have appeared in visual texts with clear verbal reference to the writing system. In the visual text, Farhad's character is referred to the verbal text with implicit references. In hypertextuality, the artist in the creation of Farhad's character has in all cases transformed, replaced and increased the proportion of hypotext. Due to the transformation and change of nature combined with the humor of street market, Farhad's character transformation in the form of travestissement is observed. The artist has tried to use the content of the verbal narrative to create a new narrative based on their mental desire in hypertext. The titles chosen for works such as paratextuality have increased the connection between hypotext and hypertext and directs the perception of Farhad Kohkan's character in hypertext by the readers. The author of hypertext did not limit himself to the general theme of the verbal text, he tried to deal with the character of Farhad with a different approach in the content. Therefore, the relationship between verbal text and visual texts based on derivation with transformation, increase and substitution, has led to the expansion of internal elements in the form of travestissement and charge in the text.
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