تحلیل ساختاری نقد نقاشی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقد نقاشی، نوشتاری است مبتنی بر دو رکنِ «توصیف» و «تفسیر». توصیف بخش اصلی و اساسی هر نقد نقاشی را تشکیل می دهد و غایتش انتقال نشانه های تصویری به نشانه های زبانی است. فرضیه ی این مقاله مبتنی است بر این که بی وجود توصیف دقیق، تفسیر عمیق نقاشی ممکن نیست، زیرا مبنای گزاره های تفسیریِ یک نقد موفق توصیفاتی است که منتقد در نوشتار نقد ارائه می دهد. نخستین نقدهای نقاشی توصیفات ادیبانه ای بوده اند از آنچه روی تابلو بازنمایی می شده است. اما ویژگی مهم نقد نقاشی اتکاء به توصیف دقیق برای ارائه ی تفسیر عمیق است. هویت هر اثر تجسمی مبتنی بر تفسیری است که منتقد از آن ارائه می دهد. لذا ارزش گذاری یک تابلوی نقاشی مستلزم این است که منتقد، دیدگاه هایش را در قالب تشریح و تحلیل (توصیف) و توضیح و تبیین (تفسیر) صورت بندی کند. این مقاله با ارائه ی نمونه هایی نشان خواهد داد که اولاً، نگارش نقد نقاشی مستلزم پایبندی به این صورت بندی است؛ ثانیاً، توضیح و تفسیر بر مبنای نظریه و فلسفه ی منتقد صورت بندی می شود. روش به کار رفته عبارت است از مطالعه ی دو نمونه نقد نقاشی به منظور استخراج ساختار توصیفی تفسیری آنها.The Structural Analysis of the Art Criticism
Abstract
The structural analysis of art criticism is the aim of this paper. The art criticism is a text, which is constitued of two elements: description and interpretation. The description is a foundemental part of art criticism, which translates the visuals signs into verbal signs. Without a precise visual description, it is impossible to interpret the work of art genuinely. My hypothesis is that a percise visual description is the basis for an authentic critical interpretation. Historicly, the description was the first step in the art criticism, incarnatetd in the "ekphrasis". I will show that the identity of a work of art is determined by the descriptions and interpretations, which are formed during its existence. I also show that the major art critiques formulate their criticisms in a four-part structure having description, visual analysis, clarification and explication as their foundamental elements. Interpretation is the fundamental part of all art criticism. Without interpretation, the meaning and the signification of artwork would be inaccessible to spectators. However, interpretation is not limitless. Through the interpretation, a work of art could be explacated but it is impossible to "translate" it into a text in order to clarifie all its ambiguous aspects. Morever, the interpretation is personal whereas the criticism must be subjective, i.e. universal. The interpreter can re appropriate the work in his social, historical and political situation. In other words, interpretation is open to the situation of interpret. In fact, the decription must be objective as much as possible. However, the interpretation is in itself subjectiv. The task of finding an equilibrium point betweent the objectivity of description and the subjectivity of interpretation would be achived in the art criticism. To achieve a relevant interpretation we need to consider the work of art in a special manner which is named since Kant "disinterestedness" i.e. contempaltion far from any interest. Thus an art critique is an evaluation of a work of art. While it is true that artistic taste is relative, there are certain characteristics of artwork that can be assessed as a means of measuring the artist’s success at conveying the intended message or meaning of the work in question. Art criticism is considered by some to be an art within itself, but, although each art critique may approach a work of art uniquely, there is a defined protocol for the discipline of analyzing a work of art. Briefly, the description of what we see is the objective portion of the art critique. It involves a technical description-nothing more. Next, analyzing the artwork: evolve the art criticism from a technical description to an in-depth examination of how the technical elements were utilized by the artist to create the overall impression conveyed by the artwork. Finally, the interpretation of the artwork. This part of an art critique is more subjective than the others; it is expected to use the analysis of the technical aspects of the piece of art to apply all supposition to the artist's intended purpose for the artwork.
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