تحلیل جامعه شناختی آثار رضاعباسی مبتنی بر نظریه میدان هنرِ بوردیو (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سرمایه فرهنگی مهم ترین سرمایه رایج در میدان هنر است، که هنرمند با کسب آن در موقعیت سلطه میدان قرار می گیرد. رضاعباسی هنرمند نامدار مکتب اصفهان که دارای سرمایه فرهنگی اولیه بود، برای کسب سرمایه فرهنگی غنی استراتژی های خاصی را در میدان هنر در پیش گرفت. علاوه بر عملکرد رضاعباسی، تحولات رخ داده در جامعه عصر شاه عباس اول نیز باعث افزایش سرمایه فرهنگی او در میدان هنر گردید. مسئله پژوهش، ابهام در چگونگی بازتاب ابعاد مختلف زندگی هنری رضا عباسی در کنش هنری وی در میدان تولید نگارگری عصر شاه عباس صفوی از منظر جامعه شناسی است. سوال اصلی پژوهش نیز عبارت است از اینکه: خط سیر کنشمندی رضا عباسی در میدان هنر نگارگری عصر شاه عباس صفوی چگونه بوده است؟ به این منظور، پژوهش در نظر دارد با استفاده از رویکرد جامعه شناسی هنر پیِر بوردیو به بررسی تأثیر سرمایه فرهنگی رضاعباسی بر روابط میان میدان قدرت و میدان هنر در عصر شاه عباس اول بپردازد تا با مطالعه و شناختِ تغییرات به وقوع پیوسته در مناسبات میان این دو میدان، تحولات به وجود آمده در نگاره های رضاعباسی را تبیین نماید. تحقیق پیش رو به روش توصیفی-تحلیلی با رویکرد جامعه شناسی هنر پیِر بوردیو می باشد. شیوه جمع آوری اطلاعات نیز به صورت کتابخانه ای و منابع الکترونیکی انجام شده است و روش تجزیه و تحلیل اطلاعات کیفی می باشد. نتایج نشان دادند؛ رضاعباسی با کسب سرمایه فرهنگی غنی قدرت پیشروی به سوی میدان هنرِ مستقل را پیدا کرده و از سلطه میدان قدرت خارج شده و براساس منش خود که از طریق معاشرت با صوفیان شکل گرفته است، به تولید آثار هنری پرداخته است.Sociological Analysis of Reza Abbasi's Illustrations Based on Bourdieu’s Field Theory of Art
The field of Iranian painting art before the Safavid period, due to the variety of activities formed in it, as well as the connection with literature and writing, required financing and the cooperation of a large number of human factors. These factors make a change in the quality and quantity of the artworks production according to the amount and type of courtiers and rulers (especially the king's) support. On the other hand, the activities of artists (especially painters) under the court's supporting caused the deterioration of their artistic independence and following the goals and wishes of financial sponsors, although at the same time, it also provided the opportunity to gain fame and wealth for them. In the 2nd half of the Safavid period (mostly Shah Abbas era), due to Iran's extensive international interactions with the European community and the entry of western political and economic agents into Iran, the field of painting art saw many changes under the influence of these interactions. changing the capital from Qazvin to Isfahan by Shah Abbas and planning extensive construction activities, developed trade and wealth in this city. On the other hand, the adoption of religious tolerance by her had led to the peaceful coexistence of social groups and religious minorities, as well as foreign immigrants with diverse thoughts. The accumulation of wealth resulting from commercial activities in this period provided the emergence of a social group of nobles and merchants who, in competition with the courtiers, supported the production of art works, especially painting. According to the common culture of their group, these people spent part of their wealth to buy artworks to add their art collections or to present to friends and government representatives. At the same time, these nobles and rich groups wanted their faces drawn by artists. At the same time, this emerging group of nobles and rich people wanted their faces drawn by artists. The formation of such a condition has encouraged the attention of Western artists and dealers to be present and work in the Safavid capital. Nowadays, there are so many reports about the activities of Western painters in Isfahan (the most flourished capital of the Safavid period) during this great dynasty. Some European tourists, by ordering their paintings from Iranian artists, became private sponsors of Iranian painters and painting. Thus, some artists who previously worked in the royal libraries for the courtiers and the king, had the opportunity to sell their art to foreign or domestic enthusiasts who could afford it The combination of these factors created a dynamic field of painting with diverse styles, which led to fundamental changes like Iranian painting art. The relative independence of artists and the diversity of financial sponsors and buyers of their works were the most important changes in the field of Iranian painting in the 2nd half of the Safavid period. at the same time, Reza Abbasi was one of the prominent painters who was affected by the social and cultural developments of Isfahan and made many changes in the form and content of his works. He was born in an artistic family. His father (Ali-Asghar Kashani) was considered one of the prominent court painters, and as Iranian customary, the son turned to his father's profession, i.e., painting. During his life and career experience, he experienced different social and cultural conditions, the effects of which are noticeable in his works. The content of his works includes a range of traditional subjects from Iranian literature and Western paintings to monographs of real characters. Based on the sociological point of view, the artist always produces his works under the influence of specific social conditions, and these conditions affect the form and content of his produced works Therefore, the main problem of the current research is to determine how the different aspects of Reza Abbasi's artistic life are reflected in the painting production field of Shah Abbas Safavid period from a sociological point of view. Therefore, the main question of the research is: What was the artistic path of Reza Abbasi's activity in the painting art field of Shah Abbas' Safavid period? The main purpose of the current research was to examine the effect of Reza Abbasi's cultural capital on the relations between the field of power and his artistic character. For this purpose, relying on the theoretical approach of Pierre Bourdieu's field and the concepts used in this theory, the analysis of influential social contexts in the field of painting, at the same time as Reza Abbasi's artistic life, has been done. In the following, the role of different aspects of this field in the formation of Reza Abbasi's cultural capital and the role of this capital in the trajectory of his social class mobility were studied. According to Bourdieu's view, the field of art is an independent field that has its own laws, capitals, conflicts, and its own characteristics, and the people inside it, like other fields, are constantly fighting and competing to obtain the largest amount of available funds. These people are trying to improve their position by acquiring some of the capital in the field and, if needed, converting these funds into more valuable capital in that field, creating and providing the necessary facilities to increase their influence and exercise power in the field. In the present study, based on the principles of Bourdieu's field theory, the processes of Reza Abbasi's habit formation or artistic character and its reflection in his works of art have been used. The research is a qualitative study and in terms of purpose is fundamental, which was carried out in a Descriptive analytics is an interpretation and with the approach of Pierre Bourdieu's Sociological Theory of Art. Research information was obtained from library sources. In the theoretical part, an attempt has been made to obtain sufficient knowledge of Reza Abbasi's artistic life and the influential factors in the formation of his cultural capital by referring to reliable and diverse sources. For sampling, 4 samples were selected from among the Reza Abbasi paintings that drawn between 1632 to 1640 AD in order to match the theoretical findings. The basis of choosing was to get the most information about the goals and findings of the research. The results of the research showed: Reza Abbasi (who was the prominent painter of the Safavid period) having the early cultural capital that he acquired through his family and skilled court masters, strengthened his cultural capital by appearing in the court and showing his special artistic talent and character. By inventing a new style of art, he received the title “Abbasi” from the king, and by taking advantage of the tradition of exemplification in artistic competition with Sadeghi Bey, as well as the influence of the style of European artists and communication with other strata of society, he was able to become the owner of capital culture in the painting field of that period. According to Bourdieu's field theory, the more cultural capital the actors have, the more their tendency towards independent art or creative art will be. In this period as well, with the provision of favorable social platforms, the necessary conditions were created to strengthen the cultural capital of artists, and the field of art was formed with relative independence from the field of power. Reza Abbasi's distinctive character towards the field of power and the rich cultural capital that he had acquired by using the mentioned conditions caused the formation of such a field during the period of Shah Abbas. Reza Abbasi, who at the same time as his activity in the court, had acquired Sufi tendencies through association with Sufi groups, was influenced by the symbolic violence of the square of power and the Safavid Shah's opposition to Sufi beliefs; he could not show his Sufi tendency in his works. Therefore, with the support of the rich cultural capital that he had acquired, he left the royal court and created an independent style in the field of art. Reza Abbasi is an example of the independent painters of the field of art, who, by acquiring rich cultural capital, was able to advance from the field of power to the center of the field of art in line with his personal character. Therefore, paintings of everyday life scenes, portraits of dervishes, Sufis, and wrestlers were added to the circle of artistic subjects of Safavid period illustrators. Due to the authoritarian and centralized structure of the Safavid government during the Shah-Abbas era, which deprived the middle and weak social groups far from the center of the benefits of economic and commercial development, the independent pole of the Art Square could not continue to compete with the pole affiliated with the Power Square. Due to not having enough economic and cultural funds, it lacked the attraction necessary for artists to continue their activities and compete for more funds. In such a situation, the rebellious artist referred to in this research had to leave the independent pole of the field of art due to poverty or, in Bourdieu's interpretation, was unable to convert cultural capital into economic capital, and returned to the pole of power of Safavid period art.
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