بررسي ساختار پاردايم مكان در هنر ايران پس ازاسلام با نگاهي به نقاشي ايراني

Investigating the structure of the place paradigm in Iranian art after Islam with a look at Iranian painting

علي‌رغم طولاني بودن تاريخ ايران شاهد نوعي پيوستگي و عدم انفصال در دستاوردهاي فرهنگي آن هستيم. در مورد هنر مي‌توان چنين فرض كرد كه در پسزمينه تحولات ، پاردايمهاي فراگير و مستمري وجود دارند كه تشكيل دهنده چارچوب اصلي انديشه هنرمندان بوده، و مانع انقطاع ميان دوره‌ها هستند. از مهمترين الگوها دريافت مكان است. مكان و زمان كه ساختار هنر ايران را تحت تاثير قرارمي‌دهند، خود بين دو محور هويت و فرهنگ شكل گرفته‌اند. اين مقاله بر آن است تا با پاسخ به اين پرسشها كه پاردايم مكان چيست و از چه ساختاري برخوردار است، به هدف پژوهش كه تبيين چگونگي بروز و تاثير آن در هنرنقاشي بپردازد. نتيجه اين پژوهش تحليلي، توصيفي، با بررسي اسناد مربوط و نمونه هاي دردست و اطلعات كتابخانه‌اي روشن مي‌كند كه ساختار پارادايم مكان از باورهاي عامه، فلسفي، ديني، اساطيري شكل گرفته و نقاشي ايراني ، متضمن سه دوره اصلي غيرمادي، اساطيري و مادي است.

Despite the long life of Iran history, we see a kind of continuity and non-separation in this art. With all the changes in government, accidents, civil war, overcoming several periods of foreign affairs across the country, the never-ending artistic appearance showed a fundamental change. According to the definitions, paradigms are divided into several subsets based on functional fields The most important of these patterns in Iranian art is the perception of place. The place and time that affects the structure of art in Iran is formed between the two axes of identity and culture as paradigms of the paradigms. The important hypothesis of the research suggests that there are inclusive and continuous patterns behind the developments and transition in Iranian art. They prevent interruptions between courses. But this continuity does not stand in the way of innovation and transformation This article try to answer the questions about the structure of the paradigm of space and wants to answer this important question that how and by what component it is structured.. The result of this analytical and descriptive study states that the structure of the paradigm of space. in Iran consists of four units of popular, philosophical, religious and mythological beliefs, and Iranian painting has been influenced by these structures. Accordingly, there are three distinct periods of painting from the third century to the early period of the Pahlavi era. The first period is the most immaterial, the second one is mythological and the last is the most material