خوانش آیکونولوژیک «گل» در مجموعه فتوکلاژهای «تصویر خیال» اثر بهمن جلالی
آرشیو
چکیده
بیان مسئله: بهمن جلالی عکاس معاصر ایرانی، سه دهه از فعالیت هنری خویش را صرف مستند ساختن روزمرگی در شهرهای مختلف ایران، انقلاب اسلامی و جنگ تحمیلی ساخت، و دهه ی آخر را به بازسازی عکس های دوران قاجار و در نهایت تولید فتومونتاژها و فتوکلاژهای با عنوان «تصویر خیال» پرداخت. «تصویر خیال» مجموعه ای کاملا متفاوت از دیگر آثار جلالی است که در آن هنرمند به بازتولید عکس های باقی مانده از دوران قاجار پرداخته است. هدف: تغییر ژانر در آثار این هنرمند یکی از موضوعاتی است که مورد توجه برخی منتقدین و علاقمندان به این هنرمند، چه در دوران حیات وی چه پس از فوت هنرمند قرار گرفته است. سوال تحقیق: مفهوم گل در مجموعه فتوکلاژهای تصویر خیال اثر بهمن جلالی، مستندنگار معاصر ایران، تحت تاثیر چه شرایط و ارزش های اجتماعی و فرهنگی صورت گرفته است؟ روش تحقیق: با توجه به تمرکز رویکرد آیکونولوژی بر اسناد تاریخی، اجتماعی، سیاسی، هنری و ...، و مقایسه ی تغییرات یک آیکون در طول دوران های مختلف در جامعه مورد نظر، این رویکرد برای پاسخ گویی به سئوال های مطرح شده در این تحقیق مورد استفاده قرار می گیرد. با هدف تمرکز هرچه بیشتر، در این مقاله مجموعه ی «گل ها» از فتومونتاژها و فتوکلاژهای «تصویر خیال» انتخاب شده است تا با بررسی آیکون «گل» ارزش های نمادین جامعه و تاثیر شرایط زمانی و مکانی که در خلق این آثار موثر بودند، یافت شوند. روش تحقیقی که در این پژوهش، توسط پژوهشگر منتخب گشته است، به صورت توصیفی- تحلیلی است، همچنین گردآوری اطلاعات بر بنای منابع کتابخانه ای، آرشیوی و تحقیق میدانی صورت گرفته است. نتیجه تحقیق: آیکون گل در بسیاری از آثار ادبی و هنری ایران از دوران باستان تا به امروز به کار رفته است، با برسی آثار در طول تاریخ به مفهومی مشابه از گل، در ادبیات و هنر ایران خواهیم رسید که همه ریشه در فرهنگ و تمدن دارندAn iconological reading “flower" in "The image of imagination" photo collages collections by Bahman Jalali
Bahman Jalali, a contemporary Iranian photographer, spent three decades of his artistic career on documenting people life in different cities of Iran, the Islamic Revolution, and the imposed war, and spent the last decade on reconstructing Qajar photographs and eventually producing photomontages and photo collages entitled "The Image of Imagination". "The Image of Imagination" is a completely different collection of other Bahman Jalali’s art works in which he has reproduced the remaining photographs from the Qajar period. Bahman jalali is one of the artists who have had a significant impact on Iranian photography especially after the Islamic Revolution. The efforts of him and his wife, Rana Javadi, have been a great step in the development of Iranian photography as well as its introduction to the world; The establishment of "Akaskhane Shahr Gallery" and "Aks nameh" magazine and the restoration of the negatives of the Qajar period and the publication of photographs in a book entitled Visible Treasure are among the important activities of Bahman Jalali in the development of Iranian photography. Bahman Jalali's acquaintance with Tamasha magazine and publishing his photos in this magazine, as well as participating in various group competitions and exhibitions, led to his introduction to the world of photography. In 1979, with the beginning of the popular protests against the Pahlavi government, Bahman Jalali, like other Iranian and foreign photographers, photographed these revolutionary scenes. The result of his efforts, which was done in collaboration with Rana Javadi, is the publication of the book Days of blood, Days of fire. After the revolution, he photographed the imposed war between Iran and Iraq, and a selection of photographs of the war was published in two books entitled: Khorramshahr and Abadan, which is fighting. After the end of the Iran-Iraq war, Bahman Jalali had the opportunity, in addition to documentary photography, and teaching photography in Iranian universities, to create a new transformation in the attitude of critics towards Iranian photography. He revived Iranian photography by establishing a Akaskhane Shahr Gallery, repairing glass negatives of the Qajar period in Golestan Palace, As well as the publication of the Aks nameh magazine, revived Iranian photography. During the printed the "Visible Treasure”, Jalali decided to create the collection of “The Image of Imaginations”. The collection of “the image of imagination" was a completely different work from all his photographs. The photos in this time were not taken by Bahman Jalali's camera, and appropriated by him. The collection of photomontages and photo collages of "Image of Imagination" includes collages such as combining Qajar period photographs with Pahlavi period photographs; combining Qajar women images with a photo from the painting gallery entitled "Red", as well as two other collections of combining women photographs with mirrors and combining the same photographs by flowers. The Genre change in the works of Bahaman Jalali is one of the topics that has considered by some critics and fan of this artist, both during his life time and after his death. Now there is a question, what are the values, social and cultural conditions cause to create such works by Bahman Jalali? Most artists create their works influence of cultural, social, political, etc. conditions in the society, and with each change in the conditions of the society, the style and the genre of the artist also changes. But achieving such an answer requires research by a particular approach or method. Considering the focus of the iconology on historical, social, political, artistic documents, etc., and comparing the changes of an icon during different periods, and according to the purpose set in this research, the writers have found the iconology approach as one of the most appropriate approaches, Among the approaches of art history. This approach is one of the few approaches in art history that focuses on the context of production to discover the form of works of art to explore history, culture, philosophy, art, myths, etc. The focus of the iconology approach is on the study of written and visual texts simultaneously with the work of art, it also studies the works from a political, cultural and social perspective according to the context of art production. For this reason, today, despite the shortcomings of this approach, it has been considered as one of the best methods of interpreting and finding the content of works of art by many art historians and philosopher of the last century. Aiming to focus as much as possible, collection of “Flowers” Has been selected of “imagine of imagination” collection in this article, use the flowers as an icon to find symbolic values of society, the time place situations that effect to create these art works. The method of researching used in this article, is descriptive - analytical. Similarly Data collected in based on library resources, archive files and file studies.
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