پديد آورندگان :
اسماعيلى، عليرضا دانشگاه آزاد اسلامى، واحد تهران مركزى - گروه تاريخ و باستان شناسى، تهران , بيگدلى، على دانشگاه آزاد اسلامى، واحد تهران مركزى - گروه تاريخ و باستان شناسى، تهران , بهروزى، مهرناز دانشگاه آزاد اسلامى، واحد تهران مركزى - گروه تاريخ و باستان شناسى، تهران
كليدواژه :
مجسمه‌سازي , انجمن آثار ملي , مفاخر فرهنگي , هويت‌سازي , ابوالحسن صديقي
چكيده فارسي :
هنر مجسمه‌سازي نوين در ايران، ارتباطي تنگاتنگ و ناگسستني با فعاليت‌هاي انجمن آثار ملي دارد. اين انجمن كه در سال 1304 تأسيس شد، براي طراحي و ساخت مجسمة مفاخر فرهنگي و شخصيت‌هاي سياسي و تاريخي، بومي‌سازي اين هنر در ايران، و نيز مستندسازي چهرة مجسمهها، تلاش‌هاي درخورتوجهي داشت. از اقدامات مهم انجمن آثار ملي، سفارش طراحي و ساخت مجسمههايي است كه مفاخر فرهنگي را در معرض نگاه مردمان قرار ميداد. مجسمه‌هاي ساخته شده به سفارش انجمن، نمادي از ملي‌گرايي نهفته در تفكر مدرن بود. قراردادن اين مجسمهها در اماكن عمومي موجب شد تا از كراهت و قبح مجسمه‌سازي در فرهنگ عمومي، متأثر از پاره‌اي حساسيت‌هاي مذهبي، به مروركاسته شود. اين بخش ازكارنامة انجمن هم جامعة نخبگي و هم تودههاي مردم را هدف قرار داده بود. در اين مقاله سعي شده به اين پرسش اصلي پاسخ داده شود كه انجمن آثار ملي چه نقشي در عمومي و فراگيركردن هنر مجسمه‌سازي داشته است. اين موضوع با استفاده از روش توصيفي و تحليلي و بهره‌گيري عمده از اسناد، بررسي شده است. يافته‌هاي اين پژوهش نشان مي‌دهد كه انجمن آثار ملي با برنامه‌ريزي هدفمند و بهره‌مندي از هنرمندان مجسمه‌ساز توانا، با محوريت ابوالحسن صديقي، تا حدود زيادي در انجام اين مهم موفق بوده است.
چكيده لاتين :
The art of modern sculpting in Iran has a close and
inseparable relationship with the activities of Society for
the Appreciation of National Cultural Works. This society,
which was founded in 1925, has made significant
efforts in supporting artis ts to design and fashion the
sculptures of the dis tinguished cultural figures of Iran,
domes tication of this modern art in Iran, and documentation
of the visage of these figures. By designing sculptures
of the cultural figures and erecting them in public
squares, Society was of the firs t ins titutions that took
sculptures to the city, put them on display, and made this
art popular. This Society uses a variety of means to reach
its goals in making symbols and propagation of sculpture
making. By an approach based on national identity, the
Society chose some perennial figures of the his tory and
culture of Iran who have been favored by Iranians during
different his torical periods. Although some literary
and political figures chosen by Society, such as Ferdowsi,
Ya’qub Layth Saffar, and Nader Shah, had some relations
to the nationalis tic ideology of Pahlavi monarchy, these
figures have also been favored by Iranians of different
periods in time. The sculptures made under the sponsorship
of the Society were symbols of the latent nationalism
that is present in the modern thought. The display of
these sculptures in public places resulted in the gradual
erosion of the taboo of sculpting in the common culture
that was the result of certain religious sensitivities. This
part of the activities of the Society was aimed at both
the masses and the elites. Society made some effective
efforts for making symbols out of national, political, and
scientific figures and tried for s tandardization of the their
sculptures through creating regulations, defining special
frameworks, domes tication of sculpturing, and building
workshops of bronze sculpture-making in Iran. Some
of these efforts were successful, but efforts in building
workshops remained unsuccessful. Society was also
monitoring other artis ts, organizations, and societies to
make sure of their following s tandards of sculpturing,
and believed erecting sculptures in public places mus t be
under the supervision of Culture and Art Minis try. This
article attempts to answer the main ques tion about the
part played by Society in the popularization and spreading
of the art of sculpting. Using descriptive and analytical
methods and availing itself of documentary records,
especially the documents of s tagnant archive of Society
for the Appreciation of Cultural Works and Dignities, this
article addresses this ques tion. Findings of this research
show that, with targeted planning and the collaboration
of able sculptors, Society was largely successful in this
important task. Among the sculpture artis ts collaborating
Society the role of Aboulhassan Sedighi with making
twenty sculptures ordered by society, is outs tanding. He
collaborated with Society and by drawing and painting of
visages of the eminent figures had the greates t impact on
documentation of these visages and popularization of this
art. Today we know the visage of these figures through
his drawings and sculptures. He also made efforts in
making workshops for building bronze sculptures
