بررسي سازوكار نظريه لحظه قطعي هنري كارتيه برسون با تأكيد بر تأثير سوررئاليسم بر نگاه هنري او

A S tudy on HenriCartire-Bresson’s Decisive Moment with Emphasis on Surism Efficacy in His Artis tic Vision

اين مقاله به بررسي سازوكار «لحظه قطعي» هنري كارتيه برسون بر پايه دو المان «آنيت» و «مواجهه تصادفي» مي‌پردازد. اين دو المان دو مفهوم سوررئاليستي بوده كه اولي بيان مي‌دارد راه اكتشاف براي هنرمند از طريق ارتباط با ناخودآگاه او ميسر مي‌شود و دومي مطرح مي‌كند كه مواجهات روزمره انسان با پيرامونش بي‌معني و اتفاقي نبوده، بلكه بر اساس خواست و نياز دروني هر كس روي مي‌دهد و به‌موجب آن اشيا اطراف هر فرد مي‌توانند سطحي از اكشتاف و يا آشكارسازي را براي او به همراه داشته باشند. اين تحقيق، پژوهشي كيفي بوده و با رويكرد تحليلي-توصيفي بر اساس گردآوري كتابخانه‌اي اطلاعات تلاش كرده با بررسي مؤلفه‌هاي «هندسه» و«اصول گشتالت» در كنار «آنيت» و «مواجهه تصادفي» سازوكار اين شيوه عكاسي را به‌طور واضح تبيين كند. نتيجه اين تحقيق نشان مي‌دهد لحظه قطعي برخلاف برخي تفاسير نامفهوم پيرامون آن شكلي از كاربرد سوررئاليسم در عكاسي مبتني بر ساختاري هندسي و هدفمند در راستاي ارتباط ميان ناخودآگاه و درونيات عكاس با جهان پيرامون و مواجهات او مي‌باشد كه عالي‌ترين سطح آن در هماهنگي ميان هندسه و شكلي از تجلي درونيات عكاس در جهان بيرون‌روي خواهد داد.

In 1952, Abook titled “The DecisiveMoment” was published in New York which became a turning point for both documentary photography and photojournalism. This book which was contained mos tly with Henri Cartier-Bresson’s photos soon brought the title “father of modern photojournalism’ to its own author and caused many to be absorbed by his approach of capturing photos. The idea was about the possibility and try to capture a moment in which both form and meaning would coalesce in the in highes t accord possible and the photographer was supposed to catch a very fleeting moment that was inevitably unique and unrepeatable. However, the contradictions between Cartier-Bresson’s role as a photojournalis t or documentary photographer and his artis tic vision and his artis tic s tem caused some ambiguities in unders tanding his approach and technique. On one hand, he was a photojournalis t whose photos were published in magazines as reportages of the contemporary events alongside with being the Cofounder of Magnum Photos together with photographers like Robert Capa, on the other side his artis tic vision had a deep tendency toward Surrealism which was at odds with his professional role demands.Also as many of the knowledge about Decisive moment was from Cartier Bresson’s various interviews or quotations published randomly in magazines or newspapers, the problem with unders tanding the moment he describes faces more difficulties as his own declarations sometimes have contradictions with each other and one may deny the other totally.In Iran, due to the lack of translated sources about both Decisive Moments and Cartier-Bresson himself and also lack of availability to his interviews or written articles and books, such ambi guities have enlarged in a way which has resulted in difficulties in both unders tanding of the theory and using it as a practical approach. In result of such misunders tandings there are even articles that try to jus tify the moment as a profound philosophical incident that have neither no clear guideline as a practical approach of capturing photos nor an unders tanding of the visual techniques that Cartier Bresson would use. There are also articles that discuss the Decisive Moment as an act of meditation and intuition s temming from Zen Buddhism. This article amid s tudying four elements including ‘Geometry’,‘Ges talt Principles’,and ‘Spontaneity’ and ‘Chance Encounter’, the two later s temming from surrealism, tries to both define the moment clearly and also clarify its practical s tructure. In this article, Surrealism as the basis of Cartier Bresson’s artis tic vision has been considered as the main component of his mind and based on that the spontaneity in act has been described with the targets and the reasons that are behind it in surrealis tic approach.Also, the Surrealis tic notion of chance encounters and discovery through the moment of revelation has been described in Cartier Bresson’s approach. Finally, the article s tudies the moment’s s tructure based on two major components which are ‘Geometry’ and ‘Spontaneity’ and the way they take place alongside ‘Ges talt Principles’ and ‘Chance Encounter’ in the attempt to coalesce the form and the meaning of a potential decisive frame