گذر معنا از نگاره به فرانگاره

Understanding from picture to meta-picture

تفسير، فرايندي است كه هدف از آن رسيدن به فهم است. هدف از تفسير، درك معناي اشكال و يافتن پيامي است كه آن‌ها مي‌خواهند به انسان منتقل سازند. از نقطه نظر گادامر، ايماژها بياني مبتني بر مشاركت بيننده/تاويل‌گر در روند شكل‌گيري تصوير هستند و از اين رو امكان جدايي ابژه و تاويل‌گر وجود ندارد. هم تصوير و هم بيننده هنگام تجربه توليد ايماژ تغيير مي‌يابند. ايماژ موضوعي ثابت و ايستا نيست بلكه ادراكي است كه خود را طي تجربه‌ي «مشاهده» شكل مي‌دهد. در روند ديدن، زمينه‌هاي فرهنگي و تجربه‌هاي ديداري بيننده در پردازش تصوير دخالت كرده و از اين رو تجربه‌هاي ديداري او داراي ساختاري تاريخي-فرهنگي مي‌گردد؛ داده‌ها و داشته‌هاي پيشين برنوع ديدن و درك بيننده تاثير مي‌گذارند. از اين رو ناظر تحت تاثير فرانگاره‌ها تصوير را مي‌بيند، مي‌سازد و معنا مي‌كند. اين مقاله به واكاوي نقش خيال در بازتوليد تصوير در ذهن بيننده پرداخته و قصد دارد براي وجود فرانگاره و كيفيت تاثير آن روشي علمي و قابل سنجش كمي پيدا كند. در نهايت نمونه پژوهشي نشان مي‌دهد بيننده اثر بيش از آنكه نگاره‌ها را ببيند تحت تاثير فرانگاره‌هاي ذهن خود قرار دارد و تصاوير را پيش از ديدن و فهميدن تفسير كرده و فرم را تنها به واسطه تجربه ديداري خود مي‌فهمد وكامل مي‌كند.

Synopsis : . . Interpretation is the process aimed to achieve understanding. The purpose of the interpretation is to understand the meaning of forms and find the messages they try to convey to us. From Gadamer's perspective, images are based on the participation of viewers in the process of image formation, and there is no possibility of separation of object and subject. Both the image and the viewer are modified when they experience the production of images. The Image is not fixed and static, but a perception that forms itself within the "observation" experience. Seeing is a process of processor mind and it is unique to him; in this process, the cultural backgrounds and visual experiences of the viewer effect in the processing of developing images, and therefore human visual experiences finds a historical-cultural structure, while previous data is affected. Hence, the observer under the influence of Meta-picture sees the image and makes it. This article, titled “Understanding from picture to Meta-picture", looks at image, the understanding of the image, the explanation of the Meta-picture, and the role of the Meta-picture in understanding an image. The purpose of this article is to explain the role of imagination in reproduction of the image in the viewers mind and intends to be scientific and measurable. In the end, by doing a survey tries to find out whether the viewer in his imagination refers to a subject outside the image and creates a new image or not. Until the twentieth century, it was believed that the understanding was based on the creator of a work. The twentieth-century thinkers suspected this: if the intention is to create a message, to create a state in the receiver and transmit the message to the viewer, we have basically not understood until the states of viewer and recipient have been taken into account in this process. This article is dedicated to explaining the terms of understanding and seeing under the influence of the phantom and formation of the image. In the following, the issue of intermediate spaces in the oriental art and the role of imagination at the presence of the viewer are mentioned. In the end, we did a survey. The method of scientific research in social sciences has been used in seven stages. Step 1 - Initial question, Step 2 - Exploration deals (Reading - Exploratory interviews), Stage 3 - Theoretical plan of the research question, Step 4 - Making the analytical model, Step 5 - Observation, Step 6 - Analyzing the information and Step 7 - Conclusion. The collection of information was in field and library practice. The purpose of the research was to find out if the viewer has more frank in mind than he or she sees, or how the human person in his imagination refers to a subject outside the image and creates a new image. The conversion of the quality of this process into quantity has been the goal of research