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زیبایی شناسی زشتی در نگارگری ایرانی بر مبنای نظریات اومبرتو اکو | ||
| 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.2025.48900.1622 | ||
| نویسندگان | ||
| پریسا شاد قزوینی1؛ زینب کریمی بابااحمدی* 2 | ||
| 1دانشیار نقاشی، گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران (نویسنده مسئول) | ||
| 2دانشجوی دکتری تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران | ||
| چکیده | ||
| مفهوم زشتی در اثر هنری همانند زیبایی واجد ویژگی‌هایی است که به صورت مستقل قابل تحلیل و بررسی است. این نوشتار، در کنار تحلیل شاخصه‌های زشتی نگاری و وجوه مرتبط بدان در نگارگری ایرانی از منظر نگاه اومبرتو اکو و تحلیلِ عناصرِ صوری با مفهومِ زشت در نگارگری، به تبیین عوامل تکرار شونده‌ی نمود زشتی می‌پردازد. ضرورت این مقاله بدین سبب است که اکو در بابِ مفاهیمِ زشتی نگاری اثر هنری، توجهی به نگارگری ایرانی و وجوه مربوط بدان نداشت. سوالات پژوهشی عبارتند از ۱. زشتی نگاری، در نگارگری ایرانی، بر مبنای نظریات اکو چگونه قابل توضیح و تفسیر است؟ ۲. انواع زشتی بر مبنای نظرات اکو در مورد زشتی در نگارگری ایرانی چگونه بازنمود پیدا کرده است؟ این نوشتار از نظر هدف بنیادی و از منظر ماهیت و روش تحقیق، توصیفی-تحلیلی است. جمع‌آوری اطلاعات به صورت کتابخانه‌ای و اسنادی انجام پذیرفته و پیکره‌ی مطالعاتی شامل تحلیل و بررسی عناصر و عوامل ایجاد زشتی و انواع آن در نگارگری است. نتایج نشان داد که تقسیم‌بندی اکو از مفهوم زشتی به دلیل تطبیق دو دیدگاه در غرب و شرق جنبه‌هایی از زشتی را پوشش نمی‌دهد؛ از تفاوت‌های شخصیت‌های انسانی و غیرانسانی در نگارگری ایرانی با همتای خود در غرب از منظر اکو، می‌توان گفت از کارکردهای نمایش زشتی در نگارگری این است که زیبایی آفرینی می‌شود. همچنین محتمل است که این تقابل زیبایی و زشتی در موضوعی واحد محقق شود: زیبا تصویرکردن زشتی‌ها. | ||
| کلیدواژه‌ها | ||
| کلید واژه‌ها: زشتی؛ زیبایی شناسی زشتی؛ نگارگری ایرانی؛ اومبرتو اکو | ||
| عنوان مقاله [English] | ||
| Aesthetics of Ugliness in Iranian Painting Based on the Theories of Umberto Eco | ||
| نویسندگان [English] | ||
| Parisa Shad qazvini1؛ Zeinab Karimi Baba Ahmadi2 | ||
| 1• Associate Professor of Painting, Department of Painting, Faculty of Arts, Alzahra University, Tehran, Iran (Responsible Author) | ||
| 2PhD student in comparative and analytical history of Islamic art, Faculty of Arts, Alzahra University, Tehran, Iran. | ||
| چکیده [English] | ||
| The concept of ugliness in a work of art, like beauty, has characteristics that can be analyzed and examined independently. This article, in addition to analyzing the characteristics of ugliness and related aspects in Iranian painting from the perspective of Umberto Eco and analyzing the formal elements with the concept of ugliness in painting, explains the recurring factors of the appearance of ugliness. The necessity of this article is because Eco did not pay attention to Iranian painting and related aspects in the concept of ugliness in a work of art. The research questions are: 1. How can ugliness in Iranian painting be explained and interpreted based on Eco's theories? 2. How are the types of ugliness represented in Iranian painting based on Eco's views on ugliness? This article is descriptive-analytical in terms of its fundamental purpose and in terms of the nature and method of the research. The collection of information was carried out in the form of libraries and documents, and the body of studies includes the analysis and examination of the elements and factors that create ugliness and its types in painting. A large number of aesthetic studies are conducted around the concept of beauty as the most important quality in examining works of art. Sometimes, when an idea that is opposed to beauty is proposed, ugliness is used. However, in recent centuries, research has focused on the concept of ugliness, regardless of its relationship with beauty. In this article, we attempt to address the aesthetics of ugliness as a topic worth considering, under the concept of aesthetics (as the most important issue in this field of research), consider its important functions in the world of art, and focus on Iranian painting according to the theories of Umberto Eco, and discuss the nature of ugliness and its types. We cannot look at art topics in this way, because this indifference is due to an aesthetic experience, but the question is, does the audience always need an aesthetic experience? After the aesthetic experience, other aspects of the work of art can also be explored. One of the most important of these discussions is the issue of ethics. The work can be beautiful from the perspective of aesthetics and visual criteria; but the message it presents and the meaning it gives from the work may be contrary to moral principles. All behaviors that indicate an immoral act are immoral ugliness. These images help promote these uglinesses. The conditions and reasons for doing things are considered low and ugly when they are for an immoral and low goal, but if the same procedure is to achieve something noble, it goes beyond the realm of ugliness and is included in the circle of beauty and beautiful things. The culture of societies has a great influence on judging beauty and ugliness. These norms that society, customs, and culture impose on human choices are undeniable; In order to understand the aesthetics of ugliness in the context of art discussions, these cases are noteworthy; humans have certain proportions, so any feature that violates the balance of these proportions is considered ugly, and correcting this will depend on indifference. Ugliness and beauty are considered conventional and relative concepts that may have different instances in different periods and among different cultures. Each of the schools of art, including Iranian painting and portraiture, has different themes that cause reflection and sensitivity in the active audience. However, sensitivity to themes is greater when the researcher understands the repetition of these themes. This repetition convinces the audience that these themes have appeared in the form of patterns and images and have underlying motifs that have caused the emergence of this motif. One of these recurring themes is the display of ugliness. There are features in a work of art that the subject acquires qualities and emotions while perceiving and receiving them, and sometimes expresses them in metaphorical language; aesthetic features (beautiful and ugly, positive and negative) due to their secondary position, contribute to the ontological difficulty; whether they are real and objective features of objects and create aesthetic realism or are the product of attitudes and feelings towards objects. In different times and cultures, beauty and ugliness have been defined differently; ugliness has appeared in forms such as ugliness per se, ugliness of nature, apparent ugliness, spiritual ugliness, and ugliness in art or artistic ugliness. Regarding the concept of ugliness, Umberto Eco intends to state that the third type of ugliness is the presentation of ugliness in an artistic way. That is, whenever an artist presents something ugly to his audience in an artistic and beautiful way, we are faced with artistic ugliness. It is also clear from Eco's theories on art that he does not believe in such a thing about ugliness and beauty and does not consider ugliness and beauty to be objective characteristics and attributes of objects; in general, philosophical reflections on the nature of ugliness, as a topic of aesthetics, have been conducted around three issues: 1. The conceptual issue; which consists of providing a correct analysis of ugliness, especially in relation to beauty; 2. The ontological issue; which means determining whether ugliness exists? Can something be found that is truly ugly? And how can it be subject to an aesthetic judgment? 3. The critical issue is that the justification of beautiful works of art, both in the art world and outside it, is in fact a justification for the value of ugliness. Most people have the idea that ugliness is simply the opposite of beauty, and is on an equal footing with it. Beauty and ugliness are in conflict with each other; beauty is associated with positivity and ugliness with negative characteristics. But the manifestation of ugliness is sometimes in a way that does not only have negative effects and consequences. In other words, ugliness cannot be identified with only the common and specific characteristics of all ugly things and defined in this way, because ugly things and the way they manifest ugliness are diverse; another reason is that the public imagination does not focus on the characteristics of ugly things, but on our reaction to them. The necessity of this research is to understand the views of one of the most influential Western thinkers on the concepts of ugliness and beauty and to compare them with one of the most important Islamic arts, namely Iranian painting. The concept of ugliness, like the concept of "beauty", has been an eternal issue for thinkers. The aim of this article is to explain the essence and root of the representation of ugliness in Iranian painting. The existence and comparison of the relationship between ugliness in the visual arts and between the cultures of the East (Iranian painting) and the West (ugliness in the views of Eco) are other aims of this research. It should be noted that in this article, reference to negative characters who embody manifestations of spiritual ugliness has been purposefully selected and a detailed explanation of the background and fate of the characters who are given as examples has been avoided. The results showed that Eco's division of the concept of ugliness does not cover aspects of ugliness due to the adaptation of two perspectives in the West and the East; from the differences between human and non-human characters in Iranian painting with its counterpart in the West, from Eco's perspective, it can be said that one of the functions of depicting ugliness in painting is that it creates beauty. It is also possible that this opposition of beauty and ugliness is realized in a single subject: depicting ugliness beautifully. | ||
| کلیدواژه‌ها [English] | ||
| ugliness, ugly aesthetics, Iranian painting, Umberto Eco | ||
| مراجع | ||
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