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ردیابی تخاصم بنیادین در دو نقاشی امپرسیونیستی (با تکیه بر نظرگاه مارتین هایدگر) | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 1، دوره 7، شماره 1 - شماره پیاپی 13، خرداد 1401، صفحه 4-14 اصل مقاله (1.78 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2022.34540.1321 | ||
| نویسندگان | ||
| شیدا نصیری* 1؛ مرضیه پیراوی ونک2 | ||
| 1دانشکده پژوهش های عالی هنر و کارآفرینی دانشگاه هنر اصفهان | ||
| 2گروه پژوهش هنر/ دانشکده پژوهش های عالی هنر و کار آفرینی/ دانشگاه هنر اصفهان | ||
| چکیده | ||
| پدیدارشناسی هرمنوتیکی مارتین هایدگر به شکل معناداری بر تاویل تامل می‌کند و ضمن تعریف هستی، از امکان‌های هستی برای به آشکارگی رساندن خود نام می‌برد. یکی از رهگذرهایی که از آن به‌عنوان امکانی که هستی در آن مجال ظهور می‌یابد، یاد می‌شود، هنر است و هایدگر در کتاب سرآغاز کار هنری با گذار از تفکر انتزاعی به شکلی ملموس وارد تاویل نقاشی شده و با زبان شاعرانه خاص خود از پیکار یا تخاصم (Striet)-که تحت عنوان پلوموس از ایده‌های کهن فلسفی است- میان عالم و زمین نام می‌برد که به بهترین نحو در نقاشی متجلی می‌شود. در مقاله پیش‌رو، به تاسی از هایدگر و زبان خاص او، دو نقاشی امپرسیونیستی اثر کلود مونه- مادام مونه و برکه نیلوفر و گل‌های سرخ- انتخاب شده و تلاش شده با مددگیری از پدیدارشناسی هرمنوتیکی تاویلی، حقیقت به‌مثابه کشف وجوه پنهان در آن‌ها مورد تحلیل واقع شود؛ چرا که نقاشی امپرسیونیستی به دلیل برخورداری از دو وجه ظاهری و پنهانی، امکان بررسی و کشف وجوه مستور را به‌خوبی فراهم می‌آورد. این پژوهش در قالب پرسشی بنیادین به ردیابی آرای هایدگر در قالب دو نمونه موردی از نقاشی امپرسیونیستی می‌پردازد و به‌عنوان هدف، سعی در به تصویر کشیدن تخاصم میان عالم و زمین به‌عنوان ایده کلیدی در فلسفه و در اندیشه هایدگر در کتاب سرآغاز کار هنری، در قالب دو نمونه نقاشی دارد. یکی از اهداف ضمنی این مقاله را می‌توان ردیابی نسبت میان پدیدارشناسی و امپرسیونیسم در نگاه کلان‌تر نیز در نظر گرفت. | ||
| کلیدواژه‌ها | ||
| پدیدارشناسی هرمنوتیکی؛ مارتین هایدگر؛ تخاصم میان عالم و زمین؛ نقاشی امپرسیونیستی؛ کلود مونه | ||
| عنوان مقاله [English] | ||
| A Study of Basic Struggle (Striet) in Two Impressionist Paintings based on Martin Heidegger View Point | ||
| نویسندگان [English] | ||
| sheyda Nasiri1؛ Marzieh Piravi Vanak2 | ||
| 1high art research and entrepreneurship faculty Art university of isfahan | ||
| 2Art research department/ high art research and entrepreneurship faculty/ Art university of Isfahan | ||
| چکیده [English] | ||
| Martin Heidegger in his hermeneutic phenomenology, studies a significant level in the phenomenology of Sein and while trying to explain his ontology, he also teaches the possibility of existence to reveal itself. In the Heidegger philosophy, two terms of "world" and "earth" are central issues. The truth is, in itself, inclined to hide and reveal at the same time, but the material or earth always tries to cover the truth. The world is the same desire to reveal the truth, and the earth is what keeps truth from revealing completely. These two are in constant ideas and are among the constant conflicts, which are sometimes a part of the truth that we have been exposed to. Heidegger emphasizes the decisive role of art and is clearly accentuating the relationship between the realm of art and phenomenology. It is in the art that the truth is embodied in portrayal. In this permanent struggle, the face of having an uncovered truth will be opened to tell of the secret. The world is the field of openness, and it tries to reveal itself where ever it can, but the earth is the field of submission and hiding, and it wants to limit and hold it in a position. Impressionist and post-impressionist painting, especially Van Gogh and Paul Cezanne, has always been of interest to Heidegger due to innovative aspects such as selection of subject and color. This style of painting presents well in the introduction of truth in its Heideggerian meaning, and narrates the upbringing of land and the consolidation of the world. Impressionist painting, first draws the attention to its original and innovative approach, and by creating numerous questions about the nature of it, calls the audience's mind to garner in its depth. When the audience looks at an Impressionist painting, the first encounter is a constant clash of color and light, and the shadows are overshadowed. His attention has been drawn and he is amazed by the unexpected color of the landscape. He may immediately ask why the world is pink and why the grass has any color except green. It is here that he is attracted to watch the painting, and in the back of the wonder that is taken by the curtain, it seeks to get acquainted with the elements. The elements purposely removed by the painter to draw the audience to a view of the Sein that had never been able to visit before. In the present paper, two impressionist paintings of Claude Monet, have been chosen and the intuition of truth as the discovery of hidden has been studied. These two paintings, rose-arches and Madam Monet of Monet - in addition to all the surface and apparent aspects that lead to the audience's attention in each impressionist painting, are also of deeper layers, and hidden elements in them, if discovered correctly, have revealed the truth. In the first painting, called the Lily Pond and the Roses, we try to penetrate the depth of the work after pointing to the innovative color, and we watch the universe from the vent of a hole that has been created in the middle of the painting from the roaming of the red flowers around the gazebo. When he spoke about the bridge in 1951, Martin Heidegger said, he counted what brings together and allows the world around him to breathe, in addition to a circle like flowers at the center of the Lily pond painting and red flowers, which brings together the world around him. The painting brings together the cheater of the mortals, the gods, the earth and the world together and at the same time. The view of the Lily pond and the gazebo of roses and the fading light shining on both of them, as if depicting the humid weather after rain and fog on an autumn morning, along with the interweaving of colors and the complexity of the space, in addition to presenting a new color spectrum. Phenomena that at first glance catch the eye of the audience and amaze, has another enjoyable poetic secret behind it that simply does not reveal. This aspect of truth becomes apparent only when we open our eyes to it with astonished and astonished eyes and look at the universe through its lens. This painting has brought the world into the process and reveals in its heart an aspect of truth that is unique in its kind. These intertwined motifs, as soon as you see them and engage with their appearance, slowly unveil their secrets and make you to witness one of the first hours of the creation and production of the universe. Initial birth witness. The interwoven colors and the hole created in the middle of the painting by the rotation of the rose bush on the pavilion seem to be the opening of the universe and a sign of the aspect of truth that has been revealed to Monet. The mentioned hole is a passage that leads to the truth in everyday life beyond things. This painting not only presents a view of a lotus pond and a pavilion of red flowers, but also contains a totality of the universe as if it were at the starting point of its creation, a discovery that helps the emergence and birth of the universe. In the second painting, which is called Madame Monet, we will consider, in a similar way, a hidden layer of exogenous colors and the special lighting. After providing an analytic analysis of the importance of the color of the world and earth, we will study the Monet as a stage between the earth and the world to find out the way through this transition to the universe. The painting surprises the audience in the first look, thinking if he had ever seen a grass of purple and blue. He asks, "How did the painter paint this portrait?" Did he look at the view in front of his eyes while drawing at all? The surprise of the audience reaches to the peak, when he raises the eye and faces a distinctive and different picture of a woman above the hill. He asks, "Has Madame Monet ever been in the imagination of her portrait or has she abandoned herself in the wind direction by ignoring her painter and not paying any attention to how her portrait will look like?" These questions, too, are also based on the firm response, which can be seen in the painting with astonishment. Madame Monet's figure is like a column that, like the same Greek temple that Heidegger intended, reveals the universe and is in a state that leads to the hidden originality of the ascension of the universe. The purpose of this paper is to discover the hidden aspects of these two paintings. | ||
| کلیدواژه‌ها [English] | ||
| Hermeneutic Phenomenology, Martin Heidegger, Struggle between “Earth” and “World”, The Impressionist Painting, Claude Monet | ||
| مراجع | ||
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منابع
URLs: URL2. https://dictionary.cambridge.org/dictionary/german-english/wahrheit? q=Wahrheit URL3. https://www.claudemonetgallery.org/Rose-Arches URL4. https://www.merriam-webster.com/dictionary/truth URL5. https://www.nga.gov/collection/art-object-page.61379.html URL6.https://www.vajehyab.com/moein/%D8%AD%D9%82%DB%8C%D9%82%D8%AA | ||
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