كليدواژه :
پيت موندريان , نئوپلاستيسيزم , سبك نئوپلاستيك , نقاشي انتزاعي ناب هندسي
چكيده فارسي :
اين مقاله به بررسي عوامل تاثيرگذار بر پيدايش هنر انتزاعي ناب نئوپلاستيك نقاش هلندي پيت موندريان (1944-1872) مي پردازد. عليرغم اهميت و نقش موندريان در به كمال رساندن نقاشي انتزاعي، محققان رغبت كمتري براي كاوش عوامل مختلف در شكل گيري نقاشي و تئوري نئوپلاستيك در قياس با ديگر هنرمندان نشان داده اند. از اين جهت، هدف اين مقاله در قدم اول ارائه تفحصي برعوامل اصلي (سبك گرايانه، تئوريك، فلسفي) در شكل گيري تئوري هنر نئوپلاستيك موندريان كه در اواخر دهه دوم قرن بيستم تبلور يافت، مي باشد. علاوه بر اين، در اين مقاله واژه نئوپلاستيك و مفاهيم هارموني و زيبايي هنر نئوپلاستيك بر اساس تحليل نوشته هاي تئوريك موندريان و منابع انگليسي تبيين شده اند. روش پژوهش توصيفي-تحليلي مي باشد، بدينگونه كه تحقيق محصول تحليل نظرات مولفان خارجي و تفسير نوشته ها و نقاشيهاي نئوپلاستيك موندريان مي باشد. در اين مقاله خواهيم ديد كه پايه هاي اصلي تئوري و نقاشي نئوپلاستيك عمدتا حاصل تحليل شخصي موندريان از تعاليم فيلسوفان و انديشمندان (بخصوص هگل و تئوزوفي) و تاثيرات تئوريك و سبكي (بويژه كوبيسم و د استايل) هنرمنداني است كه موندريان از آنها تاثير پذيرفت. در اين نوشتار در مي يابيم كه بسياري از مفاهيم جديدي - هارموني جديد (تعادل)، عناصر سازنده نقاشي و حتي واژه نئوپلاستيك - كه موندريان در نوشته ها و نقاشيهاي انتزاعي ناب هندسي خود بكار برده است، برگرفته از تعاليم فلسفي، تئوريك-هنري فيلسوفان و هنرمندان در دو دهه اول قرن بيستم (بويژه بين سالهاي 1919-1909) بر اين نقاش هلندي مي باشد.
چكيده لاتين :
Dutch painter Piet Mondrian (1872-1944) is considered
as one of the mos t prominent and influential artis ts in the
his tory of Modern Art in the firs t half of the 20th century.
He developed and perfected artis tic theories of modern
abs tract artis ts into its end. His pure abs tract s tyle called
Neo-Plas ticism, proposed after 1919, was the result of his
contemplation on many philosophical and artis tic theories
and concepts as well as his consis tent experimentations on
canvas in the second decade of the 20th century.
Mondrian was not only an influential painter, but also
a prolific writer of his artis tic theories. Throughout three
decades, from 1914 till 1944 (his death), he wrote his
Neo-Plas tic theories in more than one hundred pieces of
writings such as articles, notes, exhibition catalogues, autobiographies,
and essays. In his writings, he talked about
his theories and principles of Neo-Plas ticism in relation
to wide ranges of topics such as society, culture, morality,
politics, and art. In his belief, the principles of pure
abs tract s tyle of Neo-Plas ticismderived from ancient laws
of nature and universe notably a universal equilibrium and
unity. Therefore, he considered his artis tic theories as social
and moral rules for creating a utopian life (earthy paradise)
filled with moral values such as brotherhood, unity,
equivalence, jus tice, and peace. In a nutshell, Mondrian
believed that his principles of Neo-Plas ticism should be
implemented in society in order to enhance the moral and
physical wellbeing of mankind.
In spite of crucial role of Mondrian for perfection of nonrepresentational
painting in the his tory of Modern Art,
scholars showed scant attention to the analysis of his Neo-
Plas tic theory and paintings. In the previous publications,
scholars overly examinedMondrian’s art and life through a
his torical or philosophical lens. Moreover, scholars (especially
in Iran) inves tigated his theory of Neo-Plas ticism in
relation to other fields, mos t importantly modern architecture.
Las tly, Mondrian’s Neo-Plas tic terms and principles
have not discussed in relation to his paintings and writings.
To fill this gap, in this article, pivotal factors involved in
the formation of Piet Mondrian’s Neo-Plas tic painting are
examined. The main aim of this paper is to explore various
philosophical, s tylis tic, and theoretical factors which
they were seminal for the emergence of Neo-Plas tic art in
the end of the 1910’s. In addition, in this article concepts
‘equilibrium’(new term for harmony), beauty as pure truth,
as well as terms ‘Neo-Plas tic’ are elaborated. In this article,
a descriptive-analytical approach is used as method
of analysis in a way the article is written based on synthesis
of viewpoints of scholars and examination of Mondrian’s
writings and paintings.At the end of this article, we
will realize that the very foundation of Neo-Plas ticism is
mainly derived from philosophical and theoretical teachings
of philosophers and artis ts on Mondrian. We will see
that many of new terms such as ‘equilibrium’, ‘beauty as
truth’, as well as term ‘Neo-Plas tic’ are indeed derived
from teachings of artis ts and philosophers whose ideas
were dominant onMondrian’s artis tic vision in the second
decade of the 20th century.
