مطالعه تطبيقي نظريه لوسي ليپارد با آثارآيينه كاري منير شاهرودي فرمانفرماييان

A Comparative Study of Lucy Lipard’s Theory with the Works of Monir Shahroudi Farmanfarmaian

در دوران معاصر افزايش حضور زنان در عرصه هنر بين‌المللي مورد توجه قرار گرفته است. افزايش حضور زنان در عرصه هنرهاي تجسمي بخصوص نقاشي در دهه‌هاي اخير شاهد تحول و رشد فراواني بوده است. افزايش حضور زنان در عرصه هنرهاي تجسمي بخصوص نقاشي ميداني براي بررسي مي‌گشايد تا بتوان نقش زنان را در عرصه هنرهاي تجسمي دوران معاصر بررسي كرد. زنان معمولاً"مضامين جنسيتي را در آثار خود استفاده مي‌كنند و از آثار خود براي نشان دادن هويت و بازنمايي خود و جنسيت بهره مي‌گيرند. در اين پژوهش به مطالعه آثار منير شاهرودي فرمانفرماييان هنرمند معاصر ايراني پرداخته مي‌شود كه در عرصه بين‌المللي فعاليت درخشاني داشته است. آثار او به شيوه آيينه‌كاري سنتي بر مبناي هندسه و شكست آينه‌ها صورت مي‌گيرد، از اين لحاظ مي‌تواند با نظريه حفره لوسي ليپارد نظريه‌پرداز معاصر در حوزه جنسيت مورد تطبيق قرار گيرد كه بر مبناي شكست بنانهاده شده است. در اين پژوهش مباني نظري در حوزه جنسيت و نظريه ليپارد به‌عنوان گرايش نظري مورد مطرح مي‌شود و سپس آثار منير فرمانفرماييان با اين ديدگاه مورد مطالعه و واكاوي قرار مي‌گيرد. محتواي پژوهش حاضر كيفي است و براساس روش‌شناسي توصيفي- تحليلي بوده و شيوه گردآوري اطلاعات به‌ صورت كتابخانه‌اي صورت گرفته است. اين سوالات در اين پژوهش مورد مطالعه قرار مي گيرد: جنسيت زنانه در آثار فرمانفرماييان چگونه تعريف مي‌شود؟ آثار منير فرمانفرماييان با نظريه لوسي ليپاردچگونه تحليل مي‌شود؟ نتايج يافته‌هاي اين پژوهش حاكي از آن است كه آثار منير فرمانفرماييان داراي بار زيبايي‌شناسي ايراني اسلامي است و مبناي اصلي آثارش برمبناي شكست آينه‌ها و نظم هندسي آن در آثارش است. شكست و حفره در آثار او ركن اصلي اثر هنري است و متأثر از هنجارهاي زيبايي‌شناسي ايراني اسلامي در هنر آينه‌كاري است. شكست در آثار او در تكامل فرآيند نهايي اثر كامل مي‌شود و از اين منظر مهم‌ترين تحول در جايگاه آثار هنري او شكست آينه‌ها است و فرآيند استحاله سنتي ابژه و تصوير استعاري و شكست در آينه‌ها اتفاق مي‌افتد.

In the contemporary era, the increasing presence of women in the international art scene has been considered. The increasing presence of women in the visual arts, especially painting, has witnessed a great development in recent decades. The increasing presence of women in the field of visual arts, especially field painting, opens up the possibility of exploring the role of women in the field of contemporary visual arts. Women usually use ‘gender themes’ in their work and use their work to express their identity and representation and gender. This study examines the works of contemporary Iranian artist Mounir Shahroudi, who has been active in the international arena. His work is based on traditional mirroring based on the geometry and fracture of mirrors, so that it can be compared with the contemporary theory of gender-based theorist Lucy Lippard, which has been restated on the basis of failure. Lipard’s theory as an artis t A theoretical perspective is presented and then the works of Munir Farmanfarians are studied and analyzed with this view.The content of the present study is qualitative and based on a descriptive-analytical methodology and the method of data collection is library-based. How is feminine gender defined in the writings of Monarchs? How is Monir Farmans’ works analyzed with Lucy Lipard’s theory? Neha and its geometric order are in his works. Failure and cavity in his works is the main pillar of the work of art and is influenced by the norms of Iranian Islamic aesthetics in mirror art. Failure in his works completes the evolution of the final process of the work, and in this respect the most important development in his work is the failure of mirrors, and the process of traditional object transformation, metaphorical image, and failure occurs in the mirror. The mirror is used as the main element that symbolizes femininity and reflection. In his works, the composition of his works is arranged in an orderly and irregular manner, influenced by his life and worldview. In these works the failure of mirrors challenges the eyes of the audience and is a visual representation of reality. The reflection and repetition of her work can be a symbol of femininity. Unfortunately, good written works in this field were not found in Persian sources and most of the text is translated from Internet sites. As noted in the article above, the works of militarists as one of the most prominent contemporary Iranian artists have always been considered. His work is influenced by Iranian-Islamic art and traditional Iranian architecture. He was a modern artist who used traditional mirror material as a tool to show an abstract and modern approach to his work. The works of the Commanders are geometrical works based on precise geometry and mathematics.It is fragmentary and emphasizes the personal life of the artist, femininity and reproduction, as can be seen in the work of Monir Farman and emphasizes the assumption that her work has a feminine aesthetic and is based on repetition and formality.