پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شمارهها | 908 |
| تعداد مقالات | 7,476 |
| تعداد مشاهده مقاله | 12,075,841 |
| تعداد دریافت فایل اصل مقاله | 8,543,345 |
تداوم کاربست سنت ابریسازی در نقاشیهای بیتا وکیلی | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 5، دوره 4، شماره 6، شهریور 1400، صفحه 56-67 اصل مقاله (712.92 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2021.37292.1115 | ||
| نویسنده | ||
| رضا رفیعی راد* | ||
| دانشــجوی دکتــری هنرهــای اســامی، دانشــکده هنرهــای صناعــی، دانشــگاه هنــر اســامی، تبریــز ، ایــران. | ||
| چکیده | ||
| هنرمندان ایرانی در مواجهه با نقاشی غربی، واکنشهای متفاوتی نشان دادند. برخی از این نقاشان، عناصر و اصول سنت تصویر کشور را در نقاشی معاصر، احیا کردند. بیتا وکیلی، یکی از این نقاشان است که در عرصههای داخلی و خارجی موفقیتهای زیادی داشته و با شناخت ویژگیهای نقاشی مدرن، آثار چشمگیری را به هنر معاصر ایران عرضه کرده است. آثار او مملو از نقوش ابر یا نقوش سنگ مرمر بر روی بوم است. از طرف دیگر، در فرجامین سالهای سدۀ نهم هجری قمری، شیوۀ ابریسازی در کاغذسازی سنتی ایران ابداع شد که به آن کاغذ ابری نیز اطلاق میشد. حال سؤال این است که چگونه سنت ابریسازی در آثار بیتا وکیلی ظهور پیدا کرده است. در پاسخ به این سؤال، یافتههای این مقاله که با روش توصیفی و تحلیلی و با استفاده از منابع کتابخانهای، آرشیوی و اینترنتی به انجام رسیده، نشان میدهد که در آثار این هنرمند، ابریسازی دگرگونیهای جدیدی یافته و با کارکردی متفاوت بر روی بوم تجلی مییابد. بهطوری که نقشمایۀ ابر با تأکید بر رویکرد علمگرایانۀ مدرنیستی، نقشههای جغرافیایی و عکسهای ماهوارهای را بازنمایی میکند. همچنین احیا و کارکرد متفاوت ابریسازی در دورۀ اول نقاشیهای این هنرمند بر اساس تغییر در روش تولید، تحول در مصالح و تغییر در میزان ارجمندی جایگاه نقشمایۀ ابر و همچنین در دورۀ دوم علاوه بر اینها با جایگزینکردن استعارۀ تصویری مصالح فلزی بهجای المان تصویری واژهها (خوشنویسی) بهعنوان عنصر اصلی بیان، صورت گرفته است. | ||
| کلیدواژهها | ||
| کلیدواژهها: نقاشی معاصر ایران؛ زنان نقاش معاصر ایران؛ بیتا وکیلی؛ کاغذ ابری؛ ابریسازی؛ اصل ابر؛ فرمالیسم | ||
| عنوان مقاله [English] | ||
| Continuation of the Use of the Cloud-Making Tradition in Bita Vakili's Paintings | ||
| نویسندگان [English] | ||
| Reza Rafiei Rad | ||
| PhD Student of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran | ||
| چکیده [English] | ||
| Abstract Iranian painting, which (until the Safavid Era) was expressive in the field of art and was related to literature, mysticism and other mediums faced a challenge with modern painting which was emphasizing on concepts such as pure painting, independence of painting, painting's self-sufficiency, originality and aesthetic quality, valuing of art and used to introduce the modernism as the keeper of aesthetic qualities in painting . As Dariush Shaygan rejected any attempt to integrate ancient art with modern styles, Graber, however, believed that Iranian painting, along with many other traditions, depicted the main features of the nineteenth century: the necessity of modernity and the impossibility of returning to the past. After the arrival of modern developments in painting in Iran, several generations of Iranian artists showed different reactions to it. Others acknowledge the authenticity of Western modern art, but consider modern Iranian art to lack a proper understanding of modern art. Like Pakbaz who believes that a comprehensive achievement in contemporary Iranian art has not been achieved for two reasons. One is unbalanced patterns and another is the lack of institutionalization of modern art in society. Others chose the middle way. In search of the similarities and differences between modern art and Iranian art, they stated that, in both abstract art and traditional abstract art, the artist transcends the boundaries of form and form. Therefore, the two have something in common in the position of avoiding naturalism. However, one of them is a carnal experience, and the other is a spiritual experience. so, the way is this: rediscover the Iranian visual traditions, which are based on inspiration, and re-use traditional patterns and shapes. Many Iranian painters, in search of combining the principles of modern painting with the principles of traditional art, made many trials and errors. Among these painters is Bita Vakili. She is a well-known painter in the field of contemporary Iranian art. The works of Bita Vakili of the fourth period created from the divisions of contemporary painting, from the perspective of Pakbaz and belong to this period. According to Pakbaz, the demand for art, especially women, increased during this period. And the marginal biology in eclectic painting in the previous period found a suitable ground for manifestation. And other forms of decorative painting with Iranian and Oriental faces also appeared. Now, about thirty-eight years after the fourth period of contemporary Iranian painting, it can be seen that again sparks, from the conscious or unconscious approach of Iranian painters, to pictorial traditions. This attention to the Iranian visual tradition is an honorable achievement and a purposeful effort to negate consumerism in the humanities and arts. The aim of the present study is to examine the works of Bita Vakili from the perspective of the approach to the Iranian visual tradition and to examine the continuous work of this painter in reviving and using cloud-making in the contemporary period. Most of the different artistic periods of Bita Vakili's works can be studied in the field of modernist painting due to their abstract nature. But in recent times, in addition to abstraction, we see the presence of figures, representing places like the map of Iran, in her works. This longitudinal trend in method change is, on the one hand, contrary to the direction of the history of modern Western painting (ie, from the Fauvist representation to the negation of any external view in post-painting abstraction). On the other hand, it is in line with postmodern art, which denies the self-sufficiency, purity, style, quality and inner look of the medium of art; and in a way it deals with the objective representation of the simultaneous representation of the object of art and its image. Now the question is, how did the principles of cloud-making emerge in the works of Bita Vakili, who follow the criteria of Greenberg purity? This research has been done using descriptive-analytical method and using library, internet and archival sources. Bita Vakili is a painter born in 1973. She has a master's degree in painting from Tehran University of Arts. Her name announced as the most expensive female artist in the Middle East in 2011 at Christie's 12th auction in Dubai. She has participated in more than forty solo and group exhibitions in Iran, the United Arab Emirates, Canada, Armenia, France and other countries. What has been studied in this research is the different collections of her works of art that have been classified in the first and second periods based on the cloud-making functions in her painting. In the book "Qanoon al Sowar (law of images)", Sadeghi Beyk has stated seven decorative principles of Iranian painting in the form of poetry: "Eslimi", "Khatai", "Cloud", "Waq", "Niloufar", "Frangi" and "Romi Band". After the arrival of Chinese works in Iran with different designs, Iranian artists, with the changes they made in these roles, invented the "cloud principle". These innovations continued throughout the history of Iran, to the point that the innovative transformations of Iranian artists gave this theme a variety of evolutions. One form of evolution was that the cloud motif indicated the shape of the cloud itself. This shape was used to show the cloudy sky. As an example, we can mention the painting "Ascension of the Prophet" by Sultan Mohammad Tabrizi. The shape of the cloud motif, from the fourth century AH onwards, changed into the role of the dragon as well as the Simorgh. Another form of evolution of this motif, can be seen in the motifs of mythical animals. Beautiful examples of these designs, created by Mohammad Siah Ghalam. In the seventh and eighth centuries AH, this motif, in the form of a halo around the heads of the prophets and saints, evolved in the Ascension Letters. "Batarmeh" was another type of evolution. During the Safavid period, with the beginning of the Isfahan school, the pen of the cloud underwent a transformation. Cloud-making in painting came into being before cloud-making in paper-making. In the book "Rules of Lines", the invention of paper color painting is attributed to Khajeh Abdullah, a calligrapher at the great court. Bita Vakili is also one of the most successful artists which has achieved great success in both domestic and foreign exhibitions and auctions. Both periods of Bita Vakili's works were created based on a complete understanding of the characteristics of modern art. In these two periods of her works, we see the continuation of cloud computing in a different way. In the first period, in her works, she has exhibited a form of cloud pattern that represents marble patterns or abstract patterns that were used in cloud paper as a background for calligraphy or letters and book margins. Secondly, she gave this role an independent identity, taking them out of the decorative form of the texts and using them as the main form (background). She then used cloud-making, along with industrial materials, collaged on cloud motifs, as representations of satellite imagery and geographical maps. The revival and different function of cloud-making, in the first period of this artist's paintings, has been done based on a change in the method of production, a change in materials, and a change in the importance of the role of the cloud theme. Also in the second period, in addition to these, by replacing the visual metaphor of metal materials, instead of the visual element of words (calligraphy), as the main element of expression, another form of revival of this tradition has been done. | ||
| کلیدواژهها [English] | ||
| Keywords: "Contemporary Iranian Painting", "Women Contemporary Iranian Painters", "Bita Vakili", "Cloud Paper", "Cloud Making", "Cloud Principle", "Formalism" | ||
| مراجع | ||
|
آژند، یعقوب (1391) از کارگاه تا دانشگاه، پژوهشی در نظام آموزشی استاد شاگردی و تبدیل آن به نظام دانشگاهی در نقاشی ایران، تهران: مؤسسۀ تألیف ترجمه و نشر آثار هنری متن.
________ (1393) هفت اصل تزیینی هنر ایران، تهران: پیکره.
ادراکی، مرجان؛ علیمحمدی اردکانی، جواد (1394) «جایگاه هنرمندان زن نقاش در عرصۀ تاریخ هنر ایران»، دانش هنرهای تجسمی، 3(1) ،1- 16.
اسکندری، ایرج (1385) «جنبش هنر انقلابی»، هنرهای تجسمی، 9(25)، 50-53.
افسریان، ایمان (1393) «دانستن درمان است»، چیدمان، 3(6)، 17-22.
بیانی، مهدی (1363) احوال و آثار خوشنویسان، جلد2، تهران: علمی
پاکباز، روئین (1387) دایرةالمعارف هنر، چاپ9، تهران: فرهنگ معاصر.
پورتر، ایو (1380) «کاغذ ابری و ابریسازی»، ترجمۀ جمیله دبیری، نامۀ بهارستان، 2(3)، 67-74.
چیتسازها، مهدی (1387) «مدرنیسم علیه مدرنیسم»، آینۀ خیال، 2(11)، 25- 35.
خزایی، محمد (1368) کیمیای نقش، مجموعه آثار طراحی اساتید بزرگ نقاشی ایران و مکاتب نقاشی، جلد1، تهران: حوزۀ هنری سازمان تبلیغات اسلامی.
خودداری نائینی، سعید (1389) «اسنادی در باب طلب کاغذ ابری»، پیام بهارستان، 11(7)، 117-123.
خسرویان، فریبرز (1389) «تأکید استاد محمود فرشچیان بر تقویت و اشاعۀ هنر در مدارس»، رشد آموزش هنر، 8(2)، 26- 29
داودیپور، محمدعلی و دیگران (1386) نقاشیهای برگزیدۀ محمود فرشچیان، چاپ3، تهران: زرین و سیمین.
دیماند، موریس اسون (١٣٨٣) راهنمای صنایع اسلامی، ترجمۀ عبدالله فریار، تهران: علمی فرهنگی.
ذکاء، یحیی (1369) «کاغذ ابری»، آینده، (5)، 371- 379.
_______ (1392) «کاغذ ابری، اوج احساس در تلفیق رنگ و کاغذ»، رشد آموزش (هنر)، 11(1)، 54- 57.
راودراد، اعظم؛ مریدی، محمدرضا؛ تقیزادگان، معصومه (1389) «تحلیلی بر بازنمایی زن در نقاشی معاصر ایران»، زن در توسعه و سیاست (پژوهش زنان)، 8(1)، 125-141.
رفیعیراد، رضا (1396) «کاربست اصل پنجم تزیینی نگارگری در نقاشی معاصر ایران»، همایش جایگاه نقوش تزیینی در کیفیت بصری آثار هنر اسلامی، تهران: مرکز تحقیقات هنر اسلامی نگاره.
رفیعیراد، رضا؛ ابوالحسن مقدمی، سودا؛ افهمی، رضا؛ شکرپور، شهریار (1398) «نقش نقاشان زن، در احیا و حفظ سنت نگارگری در نقاشی معاصر ایران (در چهار دهۀ اخیر)» پیکره، 8(18)، 1-17.
رفیعیراد، رضا؛ محمدزاده، مهدی (1399) «مقایسۀ شیوههای کاربست سنتهای تصویری نگارگری در آثار نقاشان زن معاصر در ایران و افغانستان» گرافیک و نقاشی، 3(5)، 91- 106.
زهتاب، فاطمه؛ حسامی، منصور (1396) «نقاشان زن و بازنمایی جنسیت در هنر ایران مدرن»، کیمیای هنر، 6(25)، 93-109.
شریعتی مزینانی، سارا؛ مدرس صادقی، مریم (1390) «بازنمایی زن در آثار زنان نقاش معاصر ایران (با تأکید بر نگاه جنسی به زن)»، جامعهشناسی هنر و ادبیات، 3(2)، 35- 54.
فراهانی، الهه (1394) مطالعۀ تحلیلی آثار بانوان نگارگر قدیم و معاصر ایران، پایاننامۀ کارشناسیارشد رشتۀ نقاشی، دانشکدۀ تجسمی، دانشگاه تهران.
قرهباغی، علیاصغر (1381) «انسانزداییهای بینالی»، گلستانه، 5(41)، 67- 71.
کازرونی، ماتیسا (1381) بررسی گرایشهای سنتی در آثار نقاشان معاصر ایران، پایاننامۀ کارشناسیارشد رشتۀ نقاشی، دانشکدۀ هنرهای تجسمی، دانشگاه هنر تهران.
کری ولش، استوارت (1374) «محمود فرشچیان، برگزیدۀ آثار یونسکو»، ایرانشناسی، 7(1)، 171-181.
گرابر، الگ (1387) مروری بر نقاشی ایرانی، ترجمۀ مهرداد وحدتی دانشمند، چاپ2، تهران: متن.
گودرزی، مصطفی (1377) «درآمدی بر نقاشی معاصر ایران»، هنرهای تجسمی، (2)، 58- 69.
صحافزاده، علیرضا (1391) «ورشکستگی مطلق هنر معاصر ایران، پرسههای یک ناظر بیرونی»، گلستانه (120)، 46- 49.
صمدزادگان، بهرنگ (1388) «نسل قبل: از مدرنیسم وارداتی تا پستمدرنیسم صادراتی»، تندیس، (159)، 13.
ضیایی، محمدباقر (1391) «هستی فرم از هاویه رنگ»، فرهیختگان، (822)، 9
مایل هروی، نجیب (1372) کتابآرایی در تمدن اسلامی، مشهد: آستان قدس رضوی
مجرد تاکستانی، اردشیر (1372) راهنمای نقاشی و کتابآرایی در ایران، قم: آستان مقدس حضرت معصومه(س).
محبی، بهزاد؛ حسنخانی قوام، فریدون؛ رنجبر، مهسا (1396) «نقش زن در نگارههای دورۀ صفوی با تأکید بر آثار رضا عباسی»، پژوهشنامۀ زنان،8، 97- 121.
وکیلی، بیتا (1393) مجموعه آثار بیتا وکیلی، تهران: ایدۀ خلاقیت.
References
Afsarian, I. (2014). Knowing is the Cure, Chideman, Third Year, 3(6), 17-22 (Text in Persian).
Azhand, Y. (2012). From the Studio to the University, A Research in the Educational System of the Student-Teacher and Its Transformation Into A University System in Iranian Painting, Tehran: Institute for the Translation and Publication of Text Works of Art (Text in Persian).
Azhand, Y. (2014). Seven Decorative Principles of Iranian Art, Tehran: Peykareh (Text in Persian).
Bayani, M. (1984). Biography of Calligraphers, (Vol. 2), Tehran: Elmi (Text in Persian).
Cary Welsh, S. (1995). Selected works of UNESCO, Journal of Iranian Studies, 7(1), 171-181 (Text in Persian).
Chitsazha, M. (2008). Modernism vs. Modernism, Ayeneh Khial, 2(11), 25-35 (Text in Persian).
Davoodipour, M. A. (2007) Selected Paintings of Mahmoud Farshchian, (3rd ed.), Tehran: Zarrin and Simin (Text in Persian).
Dimand, M. E. (2004). Guide to Islamic Industries, Translated by Abdullah Faryar, Tehran: Elmi Farhangi (Text in Persian).
Edraki, M. & Ali Mohammadi Ardakani, J. (2015). Role of Iranian Women Painters in Iranian Art History (Emphsize 70s and 80s era), Knowledge of Visual Arts, 3(1), 1-16 (Text in Persian).
Eskandari, I. (2006). Revolutionary Art Movement, Visual Arts Studies, 9(25), 50-53 (Text in Persian).
Farahani, E. (2015). Analytical Study of the Works of Ancient and Contemporary Iranian Women Painters, Master Thesis in Painting, Faculty of Visual Arts, University of Tehran, Tehran, Iran (Text in Persian).
Goodarzi, M. (1998). An Introduction to Contemporary Iranian Painting, Honarhaye Tajassomi, 2, 58-69 (Text in Persian).
Grabar, O. (2008). A Review of Iranian Painting, Translated by Mehrdad Vahdati Daneshmand, (2nd ed.), Tehran: Matn (Text in Persian).
Greenberg, C. (1961). Modernist Painting, Usa: Arts Yearbook.
Greenberg, C. (1968). Avant-Garde Attitudes : New Art in the Sixties, John Power Lecture in Contemporary Art, Australia: Power Institute of Fine Arts, University of Sydney.
Issa, R. (2001). Iranian Contemporary Art, London: Booth-Clibbor
Kazeruni, M. (2002). A Study of Traditional Tendencies in the Works of Contemporary Iranian Painters, Master Thesis in Painting, Faculty of Visual Arts, Tehran University of Arts, Tehran, Iran (Text in Persian).
Khazaei, M. (1989). Kimia ye Naghsh, Collection of Design Works of the Great Masters of Iranian Painting and Schools of Painting, (Vol. 1), Tehran: Islamic Propaganda Organization Art Cente (Text in Persian).
Khoddary Naini, S. (2010). Documents on Requesting Cloud Paper, Payame Baharestan, 11(7), 117-123 (Text in Persian).
Khosravian, F. (2010). Professor Mahmoud Farshchian's Emphasis on Strengthening and Disseminating Art in Schools, Journal of the Development of Art Education, 8(2), 26-29 (Text in Persian).
Mayel Heravi, N. (1993). Book Design in Islamic Civilization, Mashhad: Astan Quds Razavi Publications (Text in Persian).
Mohebi, B., Hassan Khani Ghavam, F., & Ranjbar, M. (2017). The Role of Women in the Safavid period Emphasizing on Reza Abbasi's Works, Women Studies, 8(0), 97-121 (Text in Persian).
Mojarad Takestani, A. (1993). Guide to Painting and Book Decoration in Iran, Qom: Astan Moqaddas Publications of Hazrat Masoumeh (PBUH) (Text in Persian).
Pakbaz, R. (2008). Encyclopedia of Art, (9th ed.), Tehran: Farhange Moaser (Text in Persian).
Porter, E. (2001). Cloudy Paper and Cloud-Making, Translated by Jamileh Dabiri, Name Baharestan, 2(3), 67-74 (Text in Persian).
Qarabaghi, A. A. (2002). Biennial Dehumanizations, Golestaneh, 5(41), 67-71 (Text in Persian).
Rafiei Rad, R. (2017). Application of the Fifth Decorative Principle of Painting in Contemporary Iranian Painting, Conference on the Place of Decorative Patterns in the Visual Quality of Islamic Works of Art, Tehran: Negareh Islamic Art Research Center (Text in Persian).
Rafiei Rad, R., Abolhassan Moghaddami, S., Afhami, R. & Shokrpour, Sh. (2020). Role of Women Painters in the Restoration and Preservation of Miniature in Contemporary Painting in Iran (in the last four decades), Paykareh, 8(18), 1-17. doi: 10.22055/pyk.2020.15540 (Text in Persian).
Rafiei Rad, Reza, Mohammadzadeh, Mehdi. (2020). Comparison of the methods of applying pictorial traditions of painting in the works of contemporary female painters in Iran and Afghanistan. Graphic Arts and Painting Research, 3 (5), doi: 10.22051 / pgr.2020.32007.1069 (Text in Persian).
Ravdrad, A. & Moridi, M. R. and Taqhi Zadegan, M. (2010). An Analysis of the Representation of Women in Contemporary Iranian Painting, Woman in Development and Politics, 8(1), 125-141 (Text in Persian).
Sahafzadeh, A. (2012). The Absolute Bankruptcy of Contemporary Iranian Art, The Strolls of an External Observer, Golestaneh, 120, 46-49 (Text in Persian).
Samadzadegan, B. (2009). Previous Generation: From Imported Modernism to Export Postmodernism, Tandis, 159, 13 (Text in Persian).
Scheiwiller, S. G. (2013). Performing the Iranian State: Visual Culture and Representations of Iranian Identity, (Anthem Middle East Studies), United Kingdom: Anthem Press (Text in Persian).
Shariati Mazinani, S. & Modares Sadeghi, M. (2011). Representation of Women in the Contemporary Female Paintings, Sociology of Art and Literature, 3(2), 35-54 (Text in Persian).
Vakili, B. (2014). Bita Vakili Collection, Tehran: Ide Khalaqiyat (Text in Persian).
Zehtab, F. and Hesami, M. (2017). Women Painters and Representation of Sexuality in the Art of Modern Iran, Kimia-ye-Honar,6(25), 93-109 (Text in Persian).
Ziaei, M. B. (2012). Existence of Form From Havieh Rang, Farhikhtegan,, 822, 9 (Text in Persian).
Zoka, Y. (1990). Cloud Paper, Ayandeh, 5, 371-379 (Text in Persian).
Zoka, Y. (2013). Cloudy paper, The Peak of Emotion in the Combination of Color and Paper, Roshde Amoozesh(Honar), 11(1), 54-57 (Text in Persian).
URL(s)
URL1: www.christies.com/lot/lot-bita-vakili-iranian-b-1973-untitled-5828122/?sc_lang=zh
URL2: www.metmuseum.org/art/collection/search/39524
URL3: https://tehranauction.com/auction/AF-1352-2/
| ||
|
آمار تعداد مشاهده مقاله: 199 تعداد دریافت فایل اصل مقاله: 150 |
||