نقد و تحلیل مؤلفه های تزیین و زینت در هنر اسلامی از دیدگاه الگ گرابار (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مسئله تزیین در تاریخ نگاری هنر اسلامی، از موضوعات بحث برانگیزی بوده است که شناخت و طبقه بندی آن ها از شکل گیری رویکردهای شرق شناسانه به سرزمین های اسلامی آغاز شد. در سده بیستم، مورخان و متفکران به روش شناسی و تعریف مفاهیم تزیین پرداختند و همچنان پژوهش های معاصر در جهان، درباره تعریف مفاهیم و چیستی ، چرایی و چگونگی تزیینات اسلامی در حال انجام و انتشار است. روش ها و رویکردهای مختلف و حتی متمایزی در این عرصه مطرح شده اند که یکی از این دیدگاه ها، رویکرد تاریخی الگ گرابار است. وی درصدد برآمده است تا اصول و چارچوبی برای فهم معانی تزیین در هنر اسلامی و تفسیر آن تبیین کند. نظر به تأثیر و اهمیت آرای گرابار در پژوهش های معاصری که در باب هنر اسلامی انجام می شود، هدف از پژوهش حاضر تحلیل و تبیین زوایای چارچوب نظری گرابار در ارتباط با ماهیت مبهم تزیین است تا شناخت بیشتری از رویکرد گرابار حاصل شود. ازاین رو، سؤالات این پژوهش عبارت است از: 1. ارکان نظریه گرابار در باب تزیین کدام است؟ 2. بر اساس نظریه گرابار، مخاطب در مواجهه با تزیین، چه ادراکاتی از آن می تواند داشته باشد؟ روش تحقیق این مقاله، به منظور رسیدن به شناخت دقیق تر از دیدگاه الگ گرابار در باب تزیین، با تحلیل نظریات وی، به شیوه توصیفی-تحلیلی و بر مبنای گردآوری کتابخانه ای انجام شده است. بر اساس نتیجه این پژوهش، گرابار سه پیش فرض کلی «جهان شمولی»، «امکان پذیری» و «قابلیت گروه بندی» را در بیان نظریه خود در نظر می گیرد و نظریه وی بر مبنای سه مؤلفه «لذت آنی»، «تداعی گری» و «میانجی گری» شکل گرفته است که پیوند مستقیمی با ادراک «بصری- نشانه ای» نزد مخاطب دارند.Critique and Analysis of Decorative and Ornamental Components in Islamic Art from the Perspective of Oleg Grabar
The issue of decoration in the historiography of Islamic art has been a matter of discussion since the formation of Orientalist approaches to Islamic lands. In the 20th century, historians focused on methodology and definitions of decorative motifs. Contemporary research continues to publish on the definition of Islamic decorations. Various methods and approaches have been proposed in this field, one of which is the historical approach of Oleg Grabar. He has attempted to establish principles and a framework for understanding the meanings of decoration in Islamic art and for interpreting them. Considering the influence and importance of Grabar's ideas in contemporary research on Islamic art, the aim of this study is to analyze and to explain Grabar's theoretical framework concerning the ambiguous nature of decoration in order to gain a better understanding of Grabar's approach.Therefore, this study is seeking to answer the following questions : 1- What are the theoretical pillars of Grabar's theory regarding ornament? 2- Based on Garabr's theory, what perceptions can the audience have when facing ornament? Instant pleasure is based on the inherent visual perception of humans and does not require prior knowledge. As soon as a work is seen, instant pleasure is conveyed to the individual without being aware of its inner meaning and concepts. Grabar discusses the relationship between ornament and reality. In fact, association is the creation of a visual language that does not remind the audience of any meaning or example, and this image does not have direct external accuracy.In mediation, the ornament is referred to as an implicit and essential way of connecting objects or artworks on the one hand and the audience and user on the other.Grabar also identifies various types of audience perceptions of ornament, including formal perception, expressive perception, iconophoric perception, and Optisemic perception.Formalistic perception, according to Grabar, is when the audience sees and understands a collection of shapes and colors without bringing any particular iconic meaning to the mind. In fact, in formal perception, the audience only sees abstractions and patterns in which a specialized person may also discover symbolic meanings.Grabar sees expressive perception as a judgmental perception of the audience. For example; if we feel fear or power from seeing a painting.Iconophoric perception, according to Grabar, is a perception in which recognizable meanings are transmitted to the audience. For example, a viewer familiar with Shiite and Islamic culture reads the name “Ali”, which an unfamiliar person would not recognize.Optisemic perception is the perception on which Grabar emphasizes the most. According to him, this perception is a tangible reminder for the audience. This identification initiates an initial sensory pleasure, and after the initial pleasure, intellectual, formal, and interpretive values are formed for the audience.Each audience member may experience one of the three formal, expressive, or iconic perceptions, and each generation or subculture continues to reinterpret human creations based on their own needs and motivations and reacts to them accordingly. To sum up, the historical identification and classification of the changes in ornament is indeed based on two factors of the cultural influences of the environment as well as the continuation and development of motifs. Though, Grabar seeks to find a possible common ground beyond the examination of cultural influences of ornaments or following the changes and transformations of motifs to define the nature and manners of the infinite variety of types of ornaments in the Islamic civilization. As a matter of fact, in order to reach a unified and universal theory with the potential and capability of explaining all the ornaments in the Islamic territory, Grabar presents a clear and particular definition of ornament and Islamic decoration in which he undeniably is to an extent inspired by the theories of either his contemporary Western theorists or his predecessors.
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