بررسی ارتباط تاریخی صنایع دستی و طراحی صنعتی در ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
حدود یک و نیم قرن از عزم رسمی برای نوسازی صنایع دستی ایران و حدود نیم قرن از تشکیل رسمی رشته ای با نام طراحی صنعتی در دانشگاه های ایران می گذرد و هنوز پژوهشی که به طور مستقیم به ارتباط صوری یا ساختاری این دو گستره فراگیر بپردازد، انجام نگرفته است. در این میان طراحی صنعتی در اغلب منابع معتبر پدیده ای است که با تفسیر و تغییر در متن طراحی سنتی شکل می گیرد و مرزهای خود را همواره در گسست و پیوست با صنایع دستی بازتعریف می کند. با عنایت به این واقعیت، هدف این پژوهش مقدماتی بررسی چند و چون پیوند تاریخی طراحی صنعتی با صنایع دستی در ایران است و برای این منظور با تکیه بر روش توصیفی، تحلیلی و استقرایی در پی پاسخگویی به این پرسش بنیادی است که طراحی صنعتی و صنایع دستیِ ایران در کدام نقطه تاریخی با هم ارتباط پیدا می کنند؟ یافته های این پژوهش حاکی از آن است که در کشور نیمه صنعتی ما، به رغم قرائت های مختلفی دال بر تعامل، تداوم و تمایز دو حوزه یاد شده، جز در فضای دانشگاهی، تقریبا ارتباط خاصی بین آن ها شکل نگرفته و در این بین طراحی صنعتی متن گشوده و در حال تکوین و تقریری است که هنوز رابطه خود را با صنایع سنتی به وضوح تعریف نکرده است.Survey on the historical relation of handicrafts and industrial design in Iran
Abstract About one and half century from the official and governmental determination for recreation and renewing of Iranian handicrafts has passed and about half century from forming an official field by the name of industrial design in Iranian universities had passed and yet no research has been done which directly has a formal or structural relation with these two important vast field of art and industry at the same time by any authorities. Among this, Forgetting and gradual weakening of each one of arts and crafts and the methods of preserving and reclamation of them should be interpreted in a bigger context such as the culture of a society. This is the reason why each artistic foundation not only reminds the sources of sociology but also reminds a conscious process not an unexpected event and it conveys the culture of that society. The present paper with assuming the absence of structural and aesthetic approaches in arts and crafts in Iran, First it goes to the huge break which happened for arts and crafts in Iran during the industrial revolution in west which causes the transitive situation in tradition and modernism. Then we go to the general effect of modern industry in arts and crafts in Iran. Among this, the industrial design in most of valid western sources is a modern phenomenon which formed with changing and interpreting in the traditional design texts and constantly connect and disconnect its boundaries with handicrafts and retells it. This outlook specially after holding the world first industrial exhibition in nineteenth century (Cristal Palace, London, 1851) which Iran with the efforts of Mirza Mohammad Taghi Khan Farahani (Amir Kabir) participated in it, became popular. The movement that had not repeated for social and political reasons and prevented Iran from accompany the other industrial countries in the world. With attention to this truth, the purpose of this primary study is surveying the historical linkage of industrial design or handicrafts in Iran and for this mean with relying on descriptive method, analytic and inductive is looking for an answer to this basic question that industrial design and handicrafts in Iran which historical point are connected to each other and emerge of industrial design in Iran, is for the cause of readout and the connection or handicrafts design? The findings of this study show that in this half industrialized country of Iran, despite of several reasons such as interaction, continuity and differentiation in this two mentioned areas, except university, it almost has not formed any connection between them and among this the industrial design is still an open book and it is being genesis and expositing and still has not defined its connection with handicrafts clearly. This abandoning of course is not only between handicraft design and the industrial design which is trendy and with more careful look, we can see the obvious presence of it among the relation with industrial designers and the industry of the country.
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