پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 960 |
| تعداد مقالات | 7,934 |
| تعداد مشاهده مقاله | 13,422,558 |
| تعداد دریافت فایل اصل مقاله | 9,541,170 |
بررسی جایگاه اقتصادی نقاشی فیگوراتیو معاصر ایران با مطالعه ی آثار فروخته شده در حراجی تهران | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 9، دوره 2، شماره 3، بهمن 1398، صفحه 109-124 اصل مقاله (1.39 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2019.25704.1035 | ||
| نویسندگان | ||
| منصور حسامی* 1؛ مهسا اینانلو2 | ||
| 1دانشیار گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران، نویسنده مسئول. | ||
| 2کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| با این که اقتصاد هنر از جانب اکثر هنرمندان انکار می شود، حمایت مالی همواره از اساسی‌ترین عوامل شکل گیری و ادامه یک جریان هنری در طول تاریخ بوده است. از طرفی نقاشی فیگوراتیو معاصر ایران همواره با چالش پیدا کردن خریدار در بین حجم انبوه مبادلات نقاشی انتزاعی، نقاشی خط و نگارگری‌های با مشخصه ارزش‌های بازاری دست و پنجه نرم می کند. در این پژوهش سعی شده تا با بررسی آثار مبادله شده در حراجی تهران به این مقوله مهم پرداخته شود که جایگاه نقاشی فیگوراتیو در اقتصاد هنر معاصر ایران یعنی بازار ملی چیست، شمار اغلب آثار فروخته شده در چه سطحی قرار دارند و آیا منطبق با معیارهای بازاری شکل گرفته‌اند یا با ارزش‌های زیبایی شناختی همگام هستند. هدف از انجام این تحقیق بررسی تاثیر بازار ملی بر جریان نقاشی فیگوراتیو ایران است که با روش اسنادی اطلاعات آن جمع آوری شده است. نتیجه این که نقاشی فیگوراتیو تنها ده درصد حجم کل مبادلات بازار ملی را به خود اختصاص داده است پس می توان این‌گونه به جمع بندی رسید که هنوز جای مناسبی در اقتصاد هنر معاصر پیدا نکرده است. شایان ذکر است در گذشته اغلب آثار با ویژگی ارزش‌های بازاری انتخاب می‌شدند اما رفته رفته این روند بهبود پیدا کرده و با توجه به حمایت مالی دولت از بازار ملی، می‌توان امید داشت که کیفیت آثار فروخته شده در حراجی تهران نقش به سزایی در ادامه جریان نقاشی فیگوراتیو در آینده خواهد داشت. | ||
| کلیدواژه‌ها | ||
| اقتصاد هنر؛ هنر معاصر؛ نقاشی فیگوراتیو؛ حراج تهران؛ بازار ملی | ||
| عنوان مقاله [English] | ||
| A Survey on the Position of Iran’s Contemporary Figurative Painting in Economy of Art | ||
| نویسندگان [English] | ||
| M. Hessami Kermani1؛ M. Inanloo2 | ||
| 1Associate Professor, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran, Corresponding Author. | ||
| 2Master of Painting, Faculty of Art, Alzahra University, Tehran, Iran. | ||
| چکیده [English] | ||
| In this survey the position of figurative painting in Iran’s contemporary art economy is studied with statistical population of Tehran’s auction. Despite the fact that the economy of art has always been denied by the artists, patronage is the most contributing factor that forms and maintains all the art movements through ages. On the other hand, figurative painting in Persian contemporary art has always competed with abstract paintings, calligraphy and miniatures to find purchasers as the foreign purchasers are more interested to buy calligraphy and miniatures. In this research, we have tried to find out how is the figurative painting’s position in the art economy with the case study of financial transactions in the national market, how they worth aesthetically and in which way are they created to satisfy the market or serve the needs of aesthetic. The main reason of conducting this documentary research is to discover the influence of the national market on the Persian figurative painting movement. The result is, according to accumulated data, among all 841 artworks which were sold in Tehran’s auction, only 60 of them are included as figurative paintings with aforementioned defined features in this survey, it is noteworthy to mention that only 10 percent of all transactions are allocated to such paintings. The highest sales were in December 2016 with total amount of 879 million IRR. Finally it is concluded that figurative paintings occupy only 10 percent of the whole volume of financial transactions so it can be said that the figurative painting’s place is not secured in the national market. We should mention that in early auctions most of the artworks which were chosen, had the features of market’s values but gradually it improved and due to governmental subsidization it is anticipated that the quality of sold artworks in national market will have a significant impact on the maintenance of figurative painting in future. Supplementary to this, the most expensive sold artworks have no market oriented features; this means that those artworks which have academically aesthetic values attract more purchasers so their market value is higher. This is a sign of the increasing tendency to this form of art. Despite this, the figurative painting has only 2 percent share in all transactions and according to abundance they are only 10 percent of all sold works of art. This indicates that, figurative painting has not yet secured its place in economic transactions. Figurative painting of Iran has already been surveyed by many researchers but its economic position which is the main purpose of this research, has never been studied before. The subject-related essays are “The mechanism of artworks pricing and determining pricing group in Tehran auction” by Mohammadjavad Mohammadi and Mohammadreza,Moridi in A symposium of Iran’s art economy book, “Contributing factors in evolution of art economy process” by Samaneh Mohammadi in Pajoheshe-Honar research journal, “Processes, trends and perspectives of art economy” by Lotfali Agheli in A symposium of Iran’s art economy book and “An Introduction to the structure and logic of the visual arts” by Hamidreza Sheshjavani. Another research which is related to contemporary art is “A comparison of the viws of Ziapour and Greenberg of the concept of modern painting” conducted by Reza Rafie Rad and Alireza Akrami Hasan Kiyadeh in Alzahra research journal of graphic arts and painting. The research method is analytical and resources used were documentary. Statistical population was Tehran auction with the target group of sold artworks since 1978 by non-random and judgmental sampling approach. The way of data analyzing was inductive reasoning. | ||
| کلیدواژه‌ها [English] | ||
| Art Economy, Contemporary Art, Figurative Painting, Tehran’s Auction, National Market | ||
| مراجع | ||
Abbing, H. (2013). Why Are Artists Poor (the Exceptional Economy of Art),Translated by Hamidreza Sheshjavani and Leila Mirsafian, (1st ed.), Isfahan: Publication of theoretical researches, 84-120 (Text in Persian).
Afsarian, I. (2016). Modern Art Marketable Art, In Search of Modern Age, (1st ed.), Tehran: Herfeh-honarmand, 241-260 (Text in Persian).
Agheli, L. (2016). Processes, Trends and Perspectives of Art Economy, A Symposium of Iran’s Art Economy, Tehran: Academy of Arts (Text in Persian).
As’adi, L. (2017). Critical Attitudes in Contemporary Iranian Art, Alzahra University (Text in Persian).
Ghazavi, R. (2011). Composition with Peculiar Elements, Tandis, 206, 6 (Text in Persian).
Khas, A. (2015). The Art Market with the Tendency to Sell New Artworks in Tehran Galleries, Pazhushe-honar,9, 139-145 (Text in Persian).
Modaresi, J. (2014). Contemporary/Retrogressive, Herfe-honarmand, 52,155-158 (Text in Persian).
Mohammadi Vakil, M., Bolkhari, H. (2017). Essay on Presence of the Human Figure in Contemporary Arts with Emphasis on the Theories of Baudrillard, Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomi, 22(2), 9-20. doi: 10.22059/jfava.2017.62396 (Text in Persian).
Mohammadi, M., & Moridi, M. (2016). The Mechanism of Artworks Pricing and Determining Pricing Group in Tehran Auction, A symposium of Iran’s Art Economy,Tehran: Academy of Arts (Text in Persian).
Mohammadi, S. (2015). Contributing Factors in Evolution of Art Economy Process, Pazhuheshe-honar,9, 146-148 (Text in Persian).
Moridi, M. (2014). Art Amounts as Collective Work, Mashhad: Badakhshan
Moridi, M. (2016). A symposium of Iran’s art economy, Tehran: Farhangestane-honar, (first ed), pages 87-89 (Text in Persian).
Omrani, M. (2016). Market under others Scrutiny, In Search of Modern Age, Herfeh-honarmand, 633-646 (Text in Persian).
Pakbaz, R. (2014). Encyclopedia of Art,(14th ed.), Tehran: Academy of Art (Text in Persian).
Sheshjavani, H. (2016). The Levels and Components of Art Market, Tandis,321, 30-31 (Text in Persian).
www.tehranauction.com
Zehtabchi, M. (2016). Realistic Popular Painting, In search of modern age, Herfeh-honarmand, 261-274 (Text in Persian).
| ||
|
آمار تعداد مشاهده مقاله: 586 تعداد دریافت فایل اصل مقاله: 435 |
||