پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 951 |
| تعداد مقالات | 7,816 |
| تعداد مشاهده مقاله | 13,005,110 |
| تعداد دریافت فایل اصل مقاله | 9,220,726 |
چیستیِ ادراک در نسبت با رازآمیزیِ آثار هنری مدرن بر اساس اندیشه مرلوپونتی | ||
| جلوه هنر | ||
| مقاله 1، دوره 15، شماره 2 - شماره پیاپی 39، تیر 1402، صفحه 7-20 اصل مقاله (682.02 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2023.42047.1875 | ||
| نویسندگان | ||
| سید نوید برزنجی1؛ مریم بختیاریان* 2؛ فیروزه شیبانی رضوانی3 | ||
| 1دانشجوی دکتری فلسفه هنر، گروه فلسفه، دانشکده حقوق، الهیات و علوم سیاسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران. | ||
| 2استادیار گروه فلسفه، دانشکده حقوق، الهیات و علوم سیاسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران، نویسنده مسئول. | ||
| 3استادیار گروه هنر، واحد اسلامشهر، دانشگاه آزاد اسلامی، اسلامشهر، ایران. | ||
| چکیده | ||
| ادراک و بدن‌مندی در فلسفۀ مرلوپونتی شانی هستی‌شناسانه دارد. در ادراک فاصلۀ سوژه و اُبژه برداشته می‌شود؛ زیرا در ادراک و به‌ویژه، ادراک حسی، نظرورزی در کار نیست. سوژه، بهعنوان موجودی که در-جهان-بودن از مولفه‌های اساسیِ اگزیستانس اوست، قبل از هرگونه تاملی با چیزها نسبت دارد. آثار هنری در تمام دوره‌‌‌ها رازآمیز بوده‌اند و هنر مدرن رازآمیزتر از هنر پیشامدرن است؛ این هنر، دغدغۀ حقیقت دارد و حقیقت همیشه رازآمیز است. از سوی دیگر، سوژۀ مدرن بر زیست جهان خود اشرافی ندارد؛ چراکه جهان مدرن ناتمام و مبهم است. علاوه بر این باید افزود، هنر مدرنیسم، جهان را در چشم‌اندازی واحد نمی‌بیند، در نقاشی، ابهام جای وضوح را می‌گیرد، نقاط متعدد دید، جای پرسپکتیو یک نقطه‌ای می‌نشیند، این می‌تواند دلیل دیگری برای رازآمیزی آثار هنری مدرن است. بر همین اساس، انسان در مواجهه با اثر هنری مدرن گاه، احساس نزدیکی به جهان میکند، گاهی، احساس دوریْ و راز در همین است. در این مقاله کوشش شده است، رابطۀ بین چیستی و چراییِ ادراک و رازآمیزی هنر مدرن از نظر مرلوپونتی مورد تامل قرار گیرد. این رابطه نشان از آن دارد که، هنر مدرن پدیداری ادراکی است و امر ادراکی رازآمیز است. این رازآمیزی به زیست‌جهان مدرن و اگزیستانس سوژۀ مدرن و ماهیت هنر مدرنیسم برمی‌گردد. داده‌های ضروری این پژوهش، از طریق منابع کتابخانه‌ای و اسنادی گردآوری شدهاند؛ و سپس، بهصورت کیفی، توصیف و تحلیل شدهاند. هدف این بوده تا از این طریق، وجه مهم دیگری از هنر مدرن از منظری که مرلوپونتی فراهم ساخته است، پدیدار شود. | ||
| کلیدواژه‌ها | ||
| واژههای کلیدی: موریس مرلوپونتی؛ ادراک؛ رازآمیزی؛ هنر مدرن؛ نقاشی مدرن؛ پل سزان | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| Nature of Perception in Relation to Mystery of Modern Art Based on Merleau-Ponty's Thought | ||
| نویسندگان [English] | ||
| Navid Barzanji1؛ Maryam Bakhtiarian2؛ Firoozeh Sheibani Rezvani3 | ||
| 1PhD. Student, Department of Philosophy of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran. | ||
| 2, Assistant Professor Department of Philosophy, Science and Research Branch, Islamic Azad University, Tehran, Iran, Corresponding Author. | ||
| 3Assistant Professor, Department of Art, Islamshahr Branch, Islamic Azad University, Islamshahr, Iran. | ||
| چکیده [English] | ||
| Perception and embodiment have an ontological status in Maurice Merleau-Ponty's philosophy. The distance between subject and object is eliminated in perception, because in which especially in sensory perception there is no theorizing. Being-in-the-world is one of the fundamental characteristics of the subject's existence, so he has a relationship with the things before any reflection. Artworks have always been mysterious, while modern art is more mysterious than pre-modern art. The concern of modern art is truth and truth is always mysterious. Moreover, the modern subject has no control over his life-world because the modern world is incomplete and ambiguous. In addition, modern art does not contemplate the world in a single perspective; in painting, ambiguity replaces clarity, and multiple points of view replace one-point perspective. This can be another reason for the mystery of modern artworks. Accordingly, when facing a modern artwork, a person sometimes feels close to the world and sometimes feels estranged; and this is the secret. In this article, it is considered what perception is according to Merleau-Ponty and how it is related to the mystery of modern art. This relationship indicates that modern art is a perceptual phenomenon and perceptual matter is mysterious. This mystery originates from the modern life-world, the existence of the modern subject and the nature of modern art. The data for this study have been collected through library and documentary sources and then they were described and analyzed qualitatively. The objective of this study is to reveal another significant aspect of modern art from Merleau-Ponty's perspective. Most artworks have mysteriously emerged throughout history; even naturalis and realist artworks that are closer to the nature have been mysterious and ambiguous. According to ancient thinkers, mystery was associated with the beyond world and the muses or goddesses of art were the source of inspiration. Due to the mystery and ambiguity that are found in artworks and poems, they have always needed to be interpreted by experts; and this is one of the remarkable aspects of art. Merleau-Ponty's quotation about modern artworks confirms this point. Ragarding paintings he claims: "Today, painters exhibit the paintings that sometimes look preliminary designs. These are the works that are the subject of endless analyses because they do not have a single meaning." These words of Merleau-Ponty can be generalized to the early modern art, including the works of post-impressionists and cubists, whose contribution to the art of modernism is notable. Due to the complex nature of modernism in modern art, the interpretation of modern art is more problematic than the art of the past. Most of these artworks are full of metaphors; this has led the artworks to be interpreted from different perspectives. Modern thinking has two characteristics of incompleteness and vagueness. These two characteristics are enough to consider modern artwork as mystery, despite the fact that some anti-modernist thinkers consider it to be nonsense. Along with Merleau-Ponty, mystery and ambiguity have been the concerns of other thinkers, for instance, existentialist philosophers such as Gabriel Marcel and Martin Heidegger had specific theories on mystery. Mystery has always been an integral part of art. Heidegger considered the issue of mystery of artworks to be related to being-in-the-world, which was a characteristic of the artist. Heidegger's attitude to being-in-the-world was favored by Merleau-Ponty, through which he explained the philosophy of perception. Attributing being-in-the-world to perception was one of the differences between Merleau-Ponty and Heidegger, but the common aspect of their philosophy was thinking about the existence. Existence is other than existent. Therefore, even in the unconcealment of existence, its secret is not revealed. What is disclosed is the secret of existence itself, covertly. Therefore, the history of the mystique of artworks in Merleau-Ponty's thought should be traced in Heidegger's notion of existence, which considered mystery in the relationship between human and existence. Merleau-Ponty showed special attention to art and presented his thoughts in various fields of human sciences through the explanation and interpretation of artists' works, especially the analysis of Paul Cézanne's works. For him, the mystery of artworks was directly related to perception. The importance of perception for him is so much that his most significant work, according to many thinkers, is called Phenomenology of Perception, in which he explained the perception in detail and also discussed art, especially Cézanne's paintings. Merleau-Ponty rediscovered the perceived world utilizing the modern art and philosophy. In the present study, an attempt has been made to answer this question: "What is the association between perception and mystery of modern artworks in Merleau-Ponty's thought?" To answer this question, it seems that according to Merleau-Ponty, human, including the artist and his audience is an embodied and being-in-the-world subject. The world is not the object of his cognition, so man perceives the world in its entirety in a pre-reflective manner. Human perception of being-in-the-world is an existential perception and the artwork takes place in this world. The world is mysterious and this mystery is found more in modern art for the reason that firstly, human does not dominate the world because he is a part of body of the world, and secondly, rediscovery of the perceived world in modern art is highly prone to negligence. In other words, the complexities of modern art and our negligence of being in-the-world are the reasons for its mystery. Philosophical concepts can rarely be formulated to follow rules. The thoughts of some philosophers such as Merleau-Ponty, Heidegger, Nietzsche, etc. are of this type. Their thoughts are not like Michel Foucault's discourse analysis and Pierre Bourdieu's field theory to be easily formulated and used to interpret and analyze the artworks. In this article, Merleau-Ponty's thought and key concepts are used not as a rule and formula in analysis and framing, but as a way to interpret modern art and his thoughts on mystery. Thus, Merleau-Ponty's notions and keywords that form the theoretical framework of this article have been used not as rules and formulas but as keys in interpretation of his concepts. We are not faced with a smooth and rule-based path, but with a philosophical path in the analysis of our work. In this article, Merleau-Ponty's perceptual thought has been expanded in several related realms. Notions such as being-in-the-world, existence, bodily experience, embodiment, and unity of subject and object have been discussed. The concept of mystery should be studied and understood along with these notions. Merleau-Ponty clearly found the abovementioned notions in Cézanne's works and elaborated them in an article entitled "Cézanne's Doubt". Present study considers Merleau-Ponty's perceptual theory as a theoretical framework for analysis and development of this issue. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Maurice Merleau-Ponty, Perception, Mystery, Modern Art, Modern Painting, Paul Cézanne | ||
| مراجع | ||
|
منابع
اسپیگلبرگ، هربرت (1392). جنبش پدیدارشناسی درآمدی تاریخی (جلد2)، ترجمه مسعود علیا، تهران: مینوی خرد.
بصیری، مهرانگیز (1392). بدن و حواس در رسانه‌های نوین هنری نگاهی از منظر پدیدارشناسی موریس مرلوپونتی، کیمیای هنر، سال دوم، شماره 9، 45-52.
پالاسما، یوهان (1398). چشمان پوست، ترجمه علیرضا فخرکننده، تهران: چشمه.
پیترزما، هنری (1398). نظریۀ معرفت در پدیدارشناسی هوسرل، هایدگر، مرلوپونتی، ترجمه فرزاد جابرالانصار، تهران: کرگدن.
رضایی، سیدمحسن (1394). بررسی ادراک اثر هنری در فلسفه مرلوپونتی، پایان‌نامه کارشناسی ارشد فلسفه هنر، تهران: دانشکده هنرهای کاربردی، دانشگاه هنر.
سبزکار، اسما (1396). مرلو-پونتی و تحلیل آثار نقاشی، تهران: هرمس.
شایگانفر، نادر و ضیاءشهابی، پرویز (1390)، تبیین تلقی پدیدارشناسانه مرلوپونتی از نقاشی‌های سزان، شناخت، دوره 4، شماره 65، 57-81.
شایگانفر، نادر (1397). تجربه هنرمندانه در پدیدارشناسی مرلوپونتی، تهران: هرمس.
صافیان، محمدجواد و نوزاد، هما (1397). تحلیل هنر تعاملی با رویکرد پدیدارشناسانه از منظر مرلوپونتی، هنرهای تجسمی، دوره 23، شماره 4، 5-12.
غفاری، لیلا و عربزاده، جمال (1398). نگاه در نقاشی از منظر پدیدارشناسی مرلوپونتی، هنرهای تجسمی، دوره 24، شماره 4، 33-38.
کارمن، تیلور (1394). مرلو-پونتی، ترجمه مسعود علیا، تهران: ققنوس.
کاربن، مارو (1399). بدن‌مندی به سوی تاریخ سوء‌تعبیر، ترجمه علی اصغر تقوی، تهران: فراهنر.
کاربن، مارو (1399). نور بدن‌مندی (تفکر متأخر مرلوپونتی)، ترجمه علی اصغر تقوی، تهران: فراهنر.
کاربن، مارو (1399). بدن‌مندی و تفکر بصری امروز، ترجمه علی اصغر تقوی، تهران: فراهنر.
ماتیوس، اریک (1389). درآمدی به اندیشه‌های مرلوپونتی، ترجمه رمضان برخوردار، تهران: گام نو.
محجل، ندا (1400). از بدن تا هنر، تهران: فرزانگی.
محجل، ندا و اصغری، محمد (1401). پدیدارشناسی زیباشناختی تن‌محور مرلوپونتی، متافیزیک، دوره 14، شماره 33، 71-87.
محمدی، اصغر (1397). رویکرد پدیده‌شناختی مرلوپونتی به رابطۀ هنر و بدن، در: مرلوپونتی و بنیادهای اندیشۀ او، تدوین و ویرایش محمد اکوان، تهران: فرزانگی.
مرلوپونتی، موریس (1398). جهان ادراک، ترجمه فرزاد جابرالانصار، تهران: ققنوس.
موسوی‌لر، اشرف‌السادات و خبیری، فروغ (1398). بررسی تحول ادراک در رسانه‌های جدید از نگاه پدیدارشناسی مرلوپونتی، جلوه هنر، دوره 11، شماره 23، 65-74.
نوزاد، هما (1400). رهیافت تحلیلی هنر دیجیتالی تعاملی با تاکید بر ادراک بدن‌مند مرلوپونتی، جلوه هنر، دوره 13، شماره 30، 80-90.
هیدگر، مارتین (1382). سرآغازِ کار هنری، ترجمه پرویز ضیاءشهابی، تهران: هرمس.
References
Basiri, M., (2012). Body and senses in modern artistic media, a look from the perspective of Maurice Merleau-Ponty's phenomenology, Kimiyai Honar Quarterly, second year, number 9, pp. 45-52. (Text in Persian).
Carman, T., (2008). Merleau-ponty. Translated by, M. Olia, Tehran:
Ghoghnoos (Text in Persian).
Carban, M., (2019). Bodmandi towards the history of misinterpretation, translated by, Ali Asghar Tagvi, Tehran: Farahanar (Text in Persian).
Carban, M., (2019). Nur Bodanmandi (Merleau-Ponty's later thought), translated by Ali Asghar Tagvi, Tehran: Farahner (Text in Persian).
Carban, M., (2019). Physicality and visual thinking today, translated by Ali Asghar Tagvi, Tehran: Farahner (Text in Persian).
Espiegelberg, H., (2012). Phenomenology Movement (Volume II), Translated by, Massoud Olia, Tehran: Minavi Kherad (Text in Persian).
Ghaffari, L, Arabzadeh, J., (2018). Looking at painting from the perspective of Merleau-Ponty's phenomenology, Journal of Visual Arts, Volume 24, Number 4, pp. 33-38 (Text in Persian).
Heidegger, M., (2002). The Origin of the Work of Art, Translated by: P. Shahabi, Tehran: Hermes (Text in Persian).
Matthews, E, (2006), Merleau-ponty: A Guide for the Perplexed. Translated by: R. Barkhordar, Tehran: Game- No (Text in Persian).
Merleau-Ponty, Maurice, (1962). Phenomenology of perception, Trans. Colin Smith, Routledge and Kegan paul, London.
_________, (1964a). The primacy of perception, Ed: James E. Edie, Trans: Carleton Dallery. Evanston, IL: Northwestern UP.
__________, (1964b), Cezanne’s Doubt, in: Sense and Non-Sense, trans: Hubert L. Dreyfus & Patricia Allen Dreyfus, Northwestern University Press.
__________, (1993). Eye and Mind, In: The Merleau-ponty Aesthetics Reader: Philosophy and Painting, G. A. johnson and M. B. Smith, Evanston, IL: Northwestern University Press.
__________, (2004a). Basic Writings, Routledge.
___________, (2004b). The world of perception, trans: Oliver Davis, Routledge, London& New York Press.
Mohajjel, N., (2021). From Body to Art, Tehran: Farzanegi (Text in Persian).
Mohajal, N, Mohammad Asghari., (1401). Merleau-Ponty's body-centered aesthetic phenomenology, Metaphysics Quarterly, Volume 14, Number 33, pp. 71-87 (Text in Persian).
Mohammadi, A., (2018). The Merleau-ponty's Phenomenological Approch to Art and Body, in: Merleau-ponty and the Bases of its Thoughts, Translated by: M. Akvan, Tehran: Farzanegi (Text in Persian).
Musweiler, A., Forough Khabeiri., (2018). Investigating the evolution of perception in new media from the perspective of Merleau-Ponty's phenomenology, Jelweh Honar Quarterly, Volume 11, Number 23, pp. 65-74 (Text in Persian).
Nouzad, H., (2021). Analytical approach of interactive digital art with an emphasis on Merleau-Ponty's bodily perception, Art Effect Quarterly, Volume 13, Number 30, pp. 80-90 (Text in Persian).
Pallasmaa, Juhani., (2019). The Eyes of the Skin, Translated by, A. Fakhrkonandeh, Tehran: Cheshmeh (Text in Persian).
Piterzema, H. (2019). The Theory of Cognition in the Phenomenology of Husserl, Heidegger, Merleau-ponty, Translated by, F. Jaberalansar, Tehran: Kargadan (Text in Persian).
Rezaei, M., (2014). Examining the perception of artwork in Merleau-Ponty's philosophy, Master's thesis, Faculty of Arts, University of Arts (Text in Persian).
Shayganfar, N, Zia Shahabi., (2013), explanation of Merleau-Ponty's phenomenological understanding of Cézanne's paintings, Cognition Quarterly, Volume 4, Number 65, pp. 57-81 (Text in Persian).
Safian, M, Homa Nozd., (2017). Analyzing interactive art with a phenomenological approach from Merleau-Ponty's point of view, Journal of Visual Arts, Volume 23, Number 4, pp. 5-12 (Text in Persian).
Sabzkar, A., (2017). Merleau-ponty and the Analysis of Painting Works, Tehran: Hermes (Text in Persian).
Young, Julian., (2001). Heidegger’s Philosophy of art, Cambridge University press.
URLs
| ||
|
آمار تعداد مشاهده مقاله: 499 تعداد دریافت فایل اصل مقاله: 339 |
||