پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 967 |
| تعداد مقالات | 8,013 |
| تعداد مشاهده مقاله | 13,579,726 |
| تعداد دریافت فایل اصل مقاله | 9,619,062 |
واکاوی فضای سوم بر اساس دیدگاه هومی بابا در آثار نقاشان معاصر ایران (مطالعه موردی: محمود سبزی، خسرو حسن‌زاده، ارغوان خسروی) | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 10 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.47743.1600 | ||
| نویسندگان | ||
| محمد کاظم حسنوند* 1؛ نیلوفر رمضانی2 | ||
| 1دانشیار گروه نقاشی، دانشکده هنر و معماری، دانشگاه تربیت مدرس | ||
| 2کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران | ||
| چکیده | ||
| فضای سوم به عنوان فضایی میانی قدرت بین استعمارگر و مستعمره را تغییر داده و اصالت هر دو فرهنگ را به چالش می‌کشد. ضمن اینکه معانی جدیدی را بازگو می‌کند.رویکرد فضای سوم باتوجه به این مفهوم از دیدگاه هومی بابا است که در حوزه مطالعات پسااستعماری شناخته می‌شود.در این فضا باتوجه به رویارویی عناصر فرهنگی، پدیده‌ای یکسر جدیدی ایجاد می‌شود که هومی بابا آن را دورگه می‌نامد. فضایی دوسوگرا که هرکدام به سمت یکدیگر در حرکت‌اند و منجر به ایجاد جریان‌سازی می‌شوند؛ فضایی که متفاوت از فضای تقلیدی_ تلفیقی است. باتوجه به پدیده جهانی شدن در آثار نقاشان معاصر ایران این امر دیده می‌شود که آن‌ها از یک سو از اشکال هنر سنتی ایران بهره می‌گیرند و از سویی دیگر از الگوهای غربی اقتباس می‌کنند. این پژوهش با هدف شناخت بیشتر نسبت به رویکرد فضای سوم و بسط این دیدگاه در هنر، سعی دارد فضای سوم را در آثار نقاشان معاصر ایران نمایان سازد. در این نوشتار تلاش شده به این پرسش‌ها پاسخ داده شود:نحوه شکل‌گیری فضای سوم در آثار نقاشان معاصر ایران چگونه ایجاد شده‌است و ارتباط میان عناصر فرهنگی چه چیزی را نمایان می‌سازد؟در جریان پژوهش به شیوه‌ای توصیفی-تحلیلی و روش گردآوری داده‌های کتابخانه‌ای، مؤلفه‌های آثار نقاشان معاصر ایران و تأثیر روابط بینافرهنگی بر آن‌ها بیان می‌گردد. نتایج حاصل یافته نشان می‌دهد که باتوجه به گسترش ارتباطات و روابط میان فرهنگی، نقاشان معاصر نیز در آثارشان از این امر بهره‌گرفته و آثاری را خلق‌کرده‌اند که در هرکدام فضای سوم ایجاد شده و دیدگاه هومی بابا را باز می‌نمایند. | ||
| کلیدواژه‌ها | ||
| نقاشی معاصر ایران؛ هومی بابا؛ فضای سوم؛ بینافرهنگی | ||
| عنوان مقاله [English] | ||
| Analysis of the third space based on Homi Baba's point of view in the Artworks of contemporary Iranian painters (case study: Mahmoud Sabzi, Khosro Hassanzadeh, Arghvan Khosravi) | ||
| نویسندگان [English] | ||
| Mohammad Kazem Hassanvand1؛ niloufar ramezani2 | ||
| 1Associate Professor, Faculty of Arts and Architecture, Tarbiat Modarres University | ||
| 2M.A.in Painting, Faculty of Arts, Tarbiat Modares University, Tehran, Iran. | ||
| چکیده [English] | ||
| Post-colonial studies is a new analytical field critically evaluating Western approaches to studying non-Western societies and marking the end of the colonial period. This approach emphasizes European cultural and political interventions in colonial societies, continuing in the form of post-colonialism and impose their effects in new ways. Homi Bhabha, a leading theorist in this field, is renowned for his book “The Location of Culture”. He argues that the colonized is not merely perceived as the “other” but that there exists a space where the colonized can independently express their experiences and interact with the colonizer. Bhabha views the relationship between the colonizer and the colonized as more complex and meaningful than other postcolonial theorists. He explores the relationship between the dominant and subordinate cultures through a psychological approach. Bhabha’s “Third Space” theory suggests that this space emerges when colonizing powers collide with the colonized. In this liminal space, the colonized subject both preserves their native culture and attempts to interact with the colonizer’s culture, resulting in the creation of a new, hybrid culture. In this space, cultural authenticity is lost, and cultures dynamically and alternately influence each other. Cultural identities become vague, and any stability and unity in cultural meanings and symbols dissipate. The third space, as a key concept in postcolonial theorise, is where the continuation of mutual relations between the colonizer and the colonized powers leads to the formation of subjects who are both themselves and the imposed other. He considers this space as a place where translation, dehistoricization, and the re-evaluation of signs and their meanings become possible. This space avoids monologue and monotony, allowing heterogeneous and alien elements to meet, resulting in new interactions between cultures. Bhabha’s concept of hybridity examines the effects of the intersection of colonial and local traditions in the era of globalization. He concludes that these interactions disrupt primary unity and stability in cultural meanings and symbols, leading to the production of new cultural forms. Bhabha views hybridity as a positive and enriching process in cultural communication, creating a constructive and dynamic atmosphere. Therefore, this concept grapples with its limitations and aims to create a constructive space and dynamic in the cultural interactions between the colonized and the colonizer. Bhabha also connects mimicry with the concept of identity, where the colonized person abandons their own identity and values in favor of another. Mimicry involves repetition and change, where copying the colonizer’s cultural elements ultimately leads to the transformation of the cultural structure. Mimicry, as a cultural phenomenon, affects as much as it is affected and is used to register presence. Bhabha recognizes it as an ambivalent perspective. Extensive studies on the specific social and cultural conditions of each period are essential to understanding artistic styles and movements. In today’s world, widespread communication and cross-cultural bonding create a new culture that avoids monologue. The influence of Western art on contemporary Iranian art is undeniable. Contemporary Iranian painters, aware of their cultural elements and traditions, strive to blend these with modern Western pictorial traditions, giving traditional Iranian art a modern atmosphere. This approach leads to an intercultural state and new structures in contemporary Iranian art. The concept of interculturalism refers to the complex exchange and interaction between cultures, which involves respecting different cultural norms and exchanging ideas and concepts. Through understanding and accepting diverse backgrounds, each culture can benefit from the experiences of others and achieve development. In contemporary Iranian art, this approach has fostered cultural connections and the combination of different ideas. Contemporary Iranian artists draw inspiration from diverse native and Western cultures, and technological advances have broadened cultural exchanges. These exchanges have provided opportunities to create diverse and innovative works, representing the diversity of contemporary Iranian art. Therefore, postcolonial studies play an important role in revisiting and reinterpreting cultural and identity relations, aiming to facilitate a different and new dialogue by combining and adapting various cultures. These efforts are evident in contemporary Iranian art, where artists create new cultural structures and readings by merging traditional and modern elements. This research aims to deepen the understanding of Bhabha’s third space approach, apply this approach to the field of art, and examine the works of contemporary Iranian painters. It explains and analyses the native and other cultural elements in these works and demonstrates the interaction between cultural elements. Based on Bhabha’s perspective, this research seeks to answer the following questions: How was the third space created in the works of contemporary Iranian painters? How did the collision of elements from the first and second spaces form, and under which concepts does the created third space fall? This exploratory research employs a descriptive-analytical method and collects data through library research and the use of visual and written documents. It first examines Bhabha’s third space approach and the study of contemporary Iranian painting concerning intercultural dialogues. The research then analyses specific examples based on this perspective to understand the confrontation between native and Western cultural elements in the works of contemporary Iranian painters. By studying and separating elements and analysing their interaction, the research categorizes each work under relevant concepts (hybrid, integrated, mimicry) and examines the role of these elements. In two works of Mahmoud Sabzi's two collections, this collision of elements is embodied in a consolidated form. In such a way that the use of the tradition of book illustration and motifs as the first space and the famous American figure and the collage technique as the second space are combined. In the series "Andy Warhol Saved Me" by Khosrow Hassanzadeh, based on the conducted review, imitation according to Homi Bhabha's theory has occurred; such that apart from the creator and the name of the work, the other elements of the image are reminiscent of Western visual tradition. In his other collection titled "Ya Ali Madad," a hybrid form has emerged, reflecting the revival of traditional values while aligning with Western styles. Finally, in "Arghavan Khosravi," native pictorial traditions, such as the use of miniature painting and decorative embellishments, combined with Western elements like shaped canvases and the removal of boundaries between painting and sculpture, have resulted in a hybrid form and created a unique visual language. The results indicate that according to Bhabha’s theory, the third space is formed due to the collision and combination between the first space (native culture) and the second space (another culture). Bhabha believes that all hybrid systems and cultural modes are formed in this space. If the collision and combination of different elements lead to the influence of cultures in cultural gaps, their connection, and the emergence of different cultural forms, hybridity is created, and discourse takes place. However, Bhabha emphasizes that hybridity cannot simply be assembled like a beautiful mosaic to create a unified culture by soldering different traditions. In addition to creating hybridity, integrated and imitative modes can also occur in the process of forming the third space. The works examined in this research, while accepting and coexisting with different cultures, preserve their cultural experiences and address art with a global language. The formation of the third space (hybrid, integrated, mimicry) is evident in these works. Thus, this space has provided an opportunity for cultures to emerge dynamically and richly in the works of contemporary Iranian painters. | ||
| کلیدواژه‌ها [English] | ||
| Iranian contemporary painting, Homi Baba, the third space, intercultural | ||
| مراجع | ||
|
| ||
|
آمار تعداد مشاهده مقاله: 1 |
||