تطبیق ساختار بصری نگاره اصحاب کهف مکتب قزوین(سده 10ه.ق) با معیارهای تفسیر زیبایی شناسانه گادامر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تاکنون دیدگاه های متفاوتی از معیارهای اعتبار تفسیر زیبایی شناسی اثر هنری توسط نظریه پردازان علم هرمنوتیک ارائه شده است. از دیدگاه گادامر، معیار اعتبار تفسیر زیبایی شناسی نشان دهنده آگاهی ذهنی از هنر و ویژگی دیالوگی بودن آن است که این دیدگاه نشان می دهد که درک اثر هنری مستلزم درگیری پدیدارشناختی با موضوعات هنری است. در این مقاله نگاره اصحاب کهف ازآنجاکه مرتبط با افق فرهنگی و معنایی مشترکی بین ملل مختلف است، به عنوان نمونه اثر هنری برای تحلیل انتخاب شده است. هدف این نوشتار مطالعه ساختار بصری نگاره اصحاب کهف در تطبیق با معیار اعتبار تفسیر زیبایی شناسی دیدگاه گادامر است.پرسش پژوهش این است که باتوجه به معیار اعتبار تفسیر زیبایی شناسی از دیدگاه گادامر، چگونه می توان بر اساس بُعد تفسیری هرمنوتیک، ساختار بصری نگاره اصحاب کهف را تبیین کرد؟ این نوشتار با استفاده از روش پژوهش تطبیقی با رویکرد تحلیلی، تاریخی به مطالعه ساختار بصری نگاره اصحاب کهف در تطبیق با آرای گادامر به تفسیر هرمنوتیک معنا و تجربه زیبایی شناسی در این نگاره پرداخته است. به این ترتیب، مطالعه ساختار بصری نگاره اصحاب کهف از دیدگاه هرمنوتیک گادامر نشان داد که موضوع این نگاره که دربردارنده معنای کل اثر است، همواره ثابت است و در مرحله فهم، نگارگر با ادغام کلیت داستان این اثر هنری از طریق تفسیر برخی از جزئیات آن، در مسیر دیالکتیکی برای دستیابی به درک ساختار معنا و مفاهیم کلی شرکت می کند. از طرفی دیگر، بر اساس معیار اعتبار تفسیر از دیدگاه گادامر، معنای یک اثر، پیشینه و هویت فرهنگی خود را حفظ می کند؛ لذا باید باتوجه به این معیار به فهم اثر هنری پرداخت. بنابراین، ازآنجاکه هنر نگارگری هنری صرفاً شخصی محسوب نمی شود و بافرهنگ و تمدن ایرانی گره خورده است، لذا در انتخاب معیار اعتبار تفسیر باید به این موضوع توجه کرد.Comparison of the Visual Structure of "The Seven Sleepers of Ephesus" Miniature of the Qazvin School (10th century AH) with the Criteria of Aesthetic Interpretation in Art from Gadamer's Point of View
The different views of the validity criteria of aesthetic interpretation in the art work have been presented by theorists of hermeneutic science. From Gadamer's point of view, with the validity criteria of aesthetic interpretation shows the mental awareness of art and its dialogic feature, that the understanding of the artistic work requires a phenomenological engagement with artistic subjects. In this paper, "The Seven Sleepers of Ephesus" miniature from a Falnama (Book of Omens), dated in 1550s., and attributed to Qazvin School in Iran, is related to the shared cultural and semantic horizon between different nations. The aim of this article is to study the visual structure of "The Seven Sleepers of Ephesus" miniature in comparison with the criterion of validity of Gadamer's aesthetic interpretation, and the understanding of artworks. The question of the research is that according to the criterion of validity of aesthetic interpretation from Gadamer's point of view, how is the visual structure of "The Seven Sleepers of Ephesus" miniature explained from the hermeneutic perspective? Comparative research method is used in this article, and the methodology of Comparative-historical analysis. The collection of information by the library method and the statistical society of the research of Ashab Cave from the book of fortune-telling, attributed to the Qazvin School with the access code: 35.64.3, which is kept in the Metropolitan Museum, has been carried out following the use of hermeneutics in art to understand the aesthetic experience. In this article, firstly, the structural analysis of the Companions of the Cave painting is discussed, and then, the semantic implications and hermeneutic analysis of the Companions painting, which is based on the criteria of the validity of aesthetic interpretation from Gadamer's point of view, in the five concepts of blending horizons, play, conversation, celebration, and symbol, are compared. The study of the visual structure of "The Seven Sleepers of Ephesus" miniature from Gadamer's hermeneutic point of view showed that the subject of this picture, which contains the meaning of the whole work, is always constant. And in the stage of understanding, the painter, by integrating the whole story of this work of art through the interpretation of some of its details, makes a mental effort to participate in the dialectical path to achieve an understanding of the structure of meaning and general concepts. On the other hand, based on the criterion of validity of interpretation from Gadamer's point of view, the meaning of a work preserves its background and cultural identity; Therefore, it is necessary to understand the work of art according to this criterion. Since the art of artistic painting is not considered purely personal and is tied to Iranian culture and civilization, therefore, this issue should be taken into account when choosing the validity criteria of interpretation. In this article, we try to bring new material to the growing reception of the new aesthetics interpretations of Gadamer’s hermeneutics among scholars, and to initiate further discussion on the topic by showing the parallels and areas where this reception could continue. Therefore, since the art of Iranian painting has a strong connection with the culture and history of Iranian art, therefore, studying the criteria of aesthetic interpretation in this art is considered an important matter, which indicates the necessity of this research. It is obvious that in the comparative study of the hermeneutics of the Seven Sleepers of Ephesus painting, attention has been paid to aspects of the validity criteria of aesthetic interpretation from Gadamer's point of view, that one can get a correct understanding and interpretation of the semantic implications understood from this painting. So, in this article, the five concepts of horizons, play, dialogue, celebration and symbol have been compared and compared from Gadamer's point of view in this painting. Since the story of the Seven Sleepers of Ephesus is related to a common cultural and semantic horizon among different nations, its hermeneutic meaning can be produced through the dialogue between the artist and the audience and the image. Therefore, the issue of Gadamer's hermeneutic concept of the identity of the artwork has been discussed dialectically. Therefore, this writing is a comparative research in the study and investigation of some concepts that Gadamer raised in the discussion of aesthetic experience. As a result, according to Gadamer's point of view, understanding the meaning of the artwork lies in the interaction between the artist and the audience. Therefore, if the aesthetic experience is included in the interpretation of hermeneutics, the works of art explain meanings beyond what the audience experiences. On the other hand, this shows that the artist's stage of understanding, interpretation and acceptance of this story is always constant, and the painting has a close connection with culture and civilization. Therefore, the hermeneutic experience should be considered equally by aesthetics, because artistic subjects show their presence behind these received meanings.
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