مطالعه تطبیقی چینی بندزنی ایران و کینتسوگی ژاپن (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هدف از پژوهش حاضر ضمن بازشناسی چینی بندزنی ایران و کینتسوگی ژاپن و بررسی وجوه افتراق و اشتراک میان آن ها، شناخت اندیشه های فرهنگی مؤثر بر شکل گیری و بقای این فنون در ایران و ژاپن است. نوشتار بر اساس هدف کاربردی و از نوع کیفی به شمار می آید. روش پژوهش توصیفی - تحلیلی و تطبیقی بوده و گردآوری داده ها بر مبنای مطالعات کتابخانه ای، مصاحبه و مشاهدات میدانی صورت گرفته است. نتایج پژوهش بیانگر آن است که چینی بندزنی و کینتسوگی در مواردی همچون فرم و بخشی از تکنیک های اجرایی، تأثیرپذیری از مفاهیم و عقاید دینی، باورها، عقاید سنتی و اندیشه های فلسفی از رویکردی مشابه برخوردارند. وجوه افتراق این هنرها نیز در زمینه های اجرایی همچون مواد و نحوه اتصال قطعات شکسته و نیز جنبه های زیباشناسانه این تکنیک ها قابل پی جویی است. ضمن آن که کینتسوگی و چینی بندزنی در زمینه تأثیرپذیری های فکری و فرهنگی نیز از تفاوت هایی قابل توجه برخوردارند که همین امر اصلی ترین عامل وضعیت کنونی بقای این هنرهاست. چنان که برقراری و حفظ پیوند نسل ها با فرهنگ اصیل و اندیشه های فلسفی در ژاپن موجب ارتقا و توسعه کینتسوگی در ژاپن و دیگر نقاط جهان شده و در مقابل اعتقاد به بدیُمنی و ترویج فرهنگ نامناسب دانستن کاربرد ظروف بندزده در میان ایرانیان ضمن انفصال از سنت های فرهنگی گذشتگان و هجوم مدرنیته و مصرف گرایی، چینی بندزنی ایران را در معرض خاموشی کامل قرار داده است. این در حالی است که هر دو این فنون ضمن برخورداری از وجوه کاربردی، تأکیدی بر لزوم توجه به ارزش ها، حرف و هنرهای سنتی در قالب میراث فرهنگی ناملموس به شمار می آیند.A Comparative Study of Iranian Chini-bandzani and Japanese Kintsugi
A Comparative Study of Iranian Chini-bandzani and Japanese Kintsugi Introduction: Traditional techniques and crafts, especially in Eastern civilizations such as Iran and Japan, have deep connections with cultural ideologies, ritual beliefs, and the spiritual values of these societies. In this regard, "Chini-bandzani" in Iran and "Kintsugi" in Japan, like many other traditional arts and crafts in the East, are considered part of the intangible cultural heritage of these nations. This heritage, possessing an independent and valuable status, has provided a suitable foundation for the intergenerational continuity of these traditions. Reviewing the historical background, examining the factors influencing the formation of Chini-bandzani and Kintsugi techniques, as well as analyzing lifestyle changes and the spread of consumer culture in contemporary times, highlight the importance of recognizing the rightful status of these crafts, which are among the most effective restoration methods for ceramic and porcelain objects. Unfortunately, today, unlike Kintsugi in Japan, Chini-bandzani in Iran has become a forgotten craft. However, similar to Kintsugi, Chini-bandzani can be introduced and utilized as one of the most practical techniques for restoring ceramic and porcelain artifacts worldwide. Therefore, the necessity of this research lies not only in recognizing the traditional techniques of Chini-bandzani and Kintsugi and their applications but also in understanding the cultural ideologies that have contributed to their formation and survival. Research Methodology: This study aims to identify and analyze the techniques of Chini-Bandzani and Kintsugi, examining their similarities and differences, as well as the cultural ideologies influencing their formation and persistence. Accordingly, this research seeks to answer the following questions: What are the similarities and differences between Chini-bandzani in Iran and Kintsugi in Japan? How have the cultural ideologies of these societies influenced the development and survival of these techniques?From a methodological perspective, this research is applied in nature and follows a qualitative approach. The study employs a descriptive-analytical and comparative method, with data collection based on library and electronic sources, field observations, and interviews with master craftsmen of Chini-Bandzani. To achieve the research objectives, the first step involved studying the historical background, tools, and techniques of Chini-bandzani in Iran and Kintsugi in Japan. In the next step, a comparative analysis of these techniques was conducted based on field findings, along with an examination of the cultural ideologies that have influenced their formation and continuity. Research Findings: Despite differences in various aspects between Iran and Japan, shared continental culture, historical heritage, and similar cultural, philosophical, and religious components have played a significant role in shaping many traditional arts and techniques in both countries. Accordingly, similarities and differences between Chini-bandzani in Iran and Kintsugi in Japan can be explored both in terms of execution techniques and the philosophical and cultural perspectives that have shaped and sustained them.Similarities between Chini-Bandzani and Kintsugi:Technical and Practical Similarities: Both Chini-Bandzani and Kintsugi are used for restoring damaged porcelain, ceramic, and even glass objects. In both methods, the damage remains visible and tangible. Additionally, as discussed earlier, filling missing pieces with adhesive or paste, replacing lost parts with different materials, and using simple, handmade tools and natural materials are among the prominent technical and practical features of both techniques.Influence of Religious Beliefs and Doctrines: Religion and religious teachings are fundamental elements in both Iranian and Japanese cultures, influencing the creation of many traditional arts and crafts. In Japan, Shinto and Buddhist teachings emphasize humility, respect for nature, and balance in life. Shintoism regards respecting objects as essential due to the belief in the presence of spirits within them. Similarly, in Buddhism, balance is a fundamental principle, and actions such as excessive consumption and environmental degradation are discouraged. In Iran, Islam, as the dominant religion, promotes principles such as avoiding wastefulness and extravagance, encouraging simplicity, moderation, and mindful consumption. These teachings significantly contributed to the formation and sustainability of Chini-bandzani in the past.Influence of Traditional Beliefs and Philosophical Concepts: Respecting traditions and preserving family heirlooms, even when damaged or worn, is a shared cultural aspect between Iran and Japan. Additionally, the core Japanese aesthetic and philosophy associated with Kintsugi is derived from "Wabi-Sabi," which emphasizes the beauty of imperfection. In traditional Iranian culture, the restoration of objects, particularly in the past, was valued more for their historical and sentimental significance rather than their material worth.Differences between Chini-Bandzani and Kintsugi:Technical and Practical Differences: The most notable difference between Chini-bandzani and Kintsugi lies in their execution methods, connections, and materials used. Unlike Chini-Bandzani, Kintsugi does not involve drilling holes or inserting metal fasteners into the object's surface; instead, broken pieces are joined using natural adhesives and lacquer. Moreover, unlike Kintsugi, Chini-bandzani does not utilize precious metals such as gold, which is a key material in Kintsugi restorations. From an aesthetic perspective, Chini-Bandzani prioritizes functional repair and simplicity, whereas Kintsugi, influenced by cultural values and philosophical principles, emphasizes turning imperfection into a form of beauty.Cultural and Philosophical Differences: Japanese culture values the natural aging and imperfections of objects, emphasizing restoration over replacement. Japan has successfully preserved its traditional arts while adapting them to contemporary global tastes. In contrast, Iranian culture has historically associated broken ceramics with misfortune, and in Islamic traditions, using repaired dishes for hospitality was considered inappropriate and a sign of poverty. Over time, these beliefs contributed to the decline of Chini-bandzani in Iran. Additionally, in contemporary times, the influx of modernity, lifestyle changes, increased consumerism, and detachment from traditional values have led to the neglect of many traditional Iranian crafts, including Chini-Bandzani. Conclusion: Chini-bandzani and Kintsugi share similarities in execution techniques, religious influences, and traditional and philosophical beliefs. However, their differences are evident in technical aspects such as materials and connection methods, as well as in their aesthetic and cultural influences. These differences have played a key role in the survival of Kintsugi and the decline of Chini-bandzani. The restoration of artworks using traditional techniques not only highlights the importance of preserving damaged objects—contrary to modern consumerist attitudes—but also demonstrates the resilience of cultural heritage, particularly in Eastern civilizations. Both Chini-bandzani and Kintsugi are traditional crafts that are now classified as intangible cultural heritage. This heritage, rooted in human thought and emotions, has been passed down through generations, strengthening the connection between societies and their past. Therefore, preserving these crafts as valuable cultural traditions is of utmost importance.
تبلیغات
