مطالعه تطبیقی نشانه های بصری در آینه کاری ایرانی و هنر فتوکلاژ (مورد مطالعاتی فتوکلاژهای دیوید هاکنی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آینه کاری ایرانی گونه ای دیوارنگاری به شمار می آید ولی به اعتبار ویژگی های بینشی، مضمونی و ساختاری، با انواع دیگر دیوارنگاری در جهان متفاوت است؛ در حقیقت ما در آینه کاری شاهد زبان تصویری ویژه ای هستیم که از تعامل میان قطعات خرد شده آینه با نقوش هندسی شکل گرفته است؛ محتوای شکلی این عناصر را فرم های کوچک هندسی، سه گوش های منظم و فرم های ساده شده طبیعی تشکیل داده اند؛ از جهت ظرافت دید، این روش نتایج درخشانی دربرداشته و سبب بوجود آمدن شیوه نوینی از اجرا گردیده که معادل تصویری آن را می توان در اشکال گوناگون هنر نوین بویژه هنر فتوکلاژ مشاهده کرد؛ این مقاله تلاشی است برای پاسخگویی به این مسئله که آیا تشابهی میان نشانه های زیبایی شناختی در آینه کاری ایرانی و فتوکلاژهای دیوید هاکنی وجود دارد؟ از این رو با بهره جستن از روش توصیفی- تحلیلی و با جمع آوری اطلاعات کتابخانه ای و میدانی، به مطالعه پاره ای از وجوه اشتراک نمونه های موردنظر می پردازیم. حاصل تطبیق و نتیجه بررسی ها نشان می دهد که نشانه های بصری بکار رفته در آینه کاری ایرانی و فتوکلاژهای دیوید هاکنی فارغ از مجموع شرایط زمانی و مکانی به صورت مشابه بکار رفته است.A Comparative Study of the Visual Signs of Persian Mirror Work and the Photo Collage Art*
One of the important elements of Islamic architecture is mirror and mirror work. The art of mirror work is a Persian traditional art which is usually used in the interior decoration of historical buildings, particular religious buildings. Mirror work is considered as a kind of mural painting, but it is different from other types of mural paintings all around the world regarding its conceptual, thematic and structural features. In fact, mirror work consists of a special kind of visual language which is based on the interaction of pieces of broken mirror with geometric patterns. These elements consist of small geometrical forms, regular triangles and natural simplified forms. Geometrical methodology which is used for adjusting the structural elements has a history in Persian art. Therefore, the mirror work artist does this work with preciseness and clarity. In this context, Geometry, can be defined as a collection of simplified triangles, squares and circles which show their most abstract characteristics. The construction of geometrical shapes starts by dividing the circle in to equal parts. The rhythmic basis of this network can be equilateral, square, pentagon and the multiple of these shapes will be hexagonal, two combined triangle or octagon. The construction of the geometrical designs and girih tiles is accompanied with mystical debates. Actually the artist makes uses of each situation to emphasize on the divinity of her work by combining the broken pieces of mirror with geometrical designs. The mirror work artist makes uses of a coherent aesthetics system which is based on geometrical designs. The mirror work artist does not attempt to represent the landscape but actually he/she is trying to illustrate the natural essence of the entities. Thus, time and place is not specified in his or her works. Such a qualified work is constructed by the application of irregular colors and lines and also by the use of geometrical methodologies that are used in construction as well as rules for the construction of circular and spiral compositions. The use of this methodology for presenting the space has resulted in a novel methodology; the visual designs of which can be seen in photo collages of David Hackney This study attempts to find an answer to the following question: Is there a similarity between the aesthetics designs of Persian mirror work and photo collages of David Hackney? Therefore, this study aims to study the common characteristics of specified samples by making use of descriptive and analytical methodology as well as field and library data collection methodology. The results of the study showed that: 1- the Persian mirror work has discovered an organization what is exactly, computed of the ordered and visual scales from space relations. Then exhibits it with dialectical path by the mirror pieces.2- the applied visual signs in the Persian mirror work and photo collages by David Hackney are used similarly. 3-the visual signs like: form analysis, visual synchrony, and motion dynamism, have manifested in the art of Persian mirror work before to be appearance in the modern painting aesthetic system.
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