پديد آورندگان :
قاسمپور، هما دانشگاه سوره، دانشكده هنر، تهران، ايران , شهبازى، رامتين دانشگاه سوره، دانشكده هنر، تهران، ايران , معين الدينى، محمد دانشگاه سوره، دانشكده هنر، تهران، ايران
كليدواژه :
تخيل , ژيلبر د وران , پرد ه خواني , منظومه شبانه و روزانه , نقاشي قهوه خانه اي
چكيده فارسي :
نقاشي قهوه خانه اي به‌عنوان يكي از مهم‌ترين شاخه هاي نقاشي عاميانه ايران، ارتباط تنگاتنگي با هنر عاميانه نقالي و پرد ه خواني د ارد ، د رونمايه مفهومي هرد وي اين هنرها پيرامون مسالة خير و شر و همچنين روايت و به تصويركشيد ن بهشت و جهنم است. اين پژوهش با هد ف شناخت نحوه ارتباط مفهومي ميان ساختار روايت پرد ه خوان و نقاشي قهوه خانه اي به بيان تطبيقي د گرد يسي تخيل د ر د و حوزة نقاشي و نمايش مي پرد ازد . د ر اين راستا ضمن تحليل عناصر تصويري يكي از آثار نقاشي قهوه خانه اي و استناد به روايت هاي پرد ه خوانان معروف، از آراء ژيلبر د وران د ر ارتباط با منظومه روزانه و شبانه استفاد ه شد ه تا به مسالة اصلي مقاله يعني چگونگي د گرد يسي تخيل مابين نقاشي و كنش نمايشي د ر پرد ه خواني پرد اخته شود . طبق نظر د وران علاوه برنتايج منجر به تصوير كه تخيل را شكل مي د هند ، فرآيند تخيل از لحظه د ريافت ابژه تا زمان شكل گيري د ر ذهن آغاز مي شود ، محاكاتي شد ن روايت پرد ه توسط نيروي نمايشگر به مد د كنش انساني آن را از محد ود ه ناخود آگاه منظومة روزانة تخيل به منظومة شبانة كه خود آگاه است مي رساند . نتيجه حاصل مشاهد ه پويايي تخيل د ر نزد مخاطب به‌واسطه اجرا، د گرد يسي منظومه ها از روزانه به شبانه د ر سه نوع روايت و د رنهايت مشاهد ة تأثيرگذارتر بود ن منظومة شبانه نسبت به روزانه د ر پرد ه خواني بود .
چكيده لاتين :
Coffee-house painting is one of the mos t important
branches of Iranian folk painting which is mainly
identified with the s tories of Karbala despite its
martial and lyrical themes. The s tructure of coffeehouse
paintings is in harmony with the theme of the
s tories they depict. In other words, the coffee-house
painting are not a partial representation of an external
object, but are generally recognized as portraits
that depict various scenes of a given event by creating
some sort of link between different events which
have taken place at different times and places. In
more concrete words, the painter depicts their favorite
themes without regard to time, place, realism, or
the rules and principles of perspective. These paintings
are closely linked to another type of folk art,
namely narrative and picture narration. The conceptual
themes of these arts are about good and evil, as
well as the narrative and depiction of heaven and
hell. Accordingly, this s tudy aims to unders tand the
conceptual relationship between the s tructure of picture
narrator’s narrative and coffee-house painting
and to compare the transformation of imagination in
two areas of painting and drama. The s tudy seems
to give rise to the manifes tation of a fresh look at
the arts of performance and painting together. In this
regard, by collecting information in a documentary
manner and using a descriptive-analytical approach,
while analyzing the visual elements of one of the
works of coffee-house painting and, accordingly,
citing the narratives of famous picture narrators, the
research uses Gilbert Durand’s views regarding the
nightly constellation of imagination and daily constellation
of imagination to address the central issue
of the paper which is the transformation of imagination
between painting and dramatic action in picture
narration. The inclination of Durand towards
Eas tern Islamic mys ticism and her interes t in myth
led to formulation of the hypothesis that there may
be similarities between her view and picture narration.
According to Durand, in addition to the results
leading to the image which forms the imagination,
the process of imagination begins from the moment
of receiving the object to its formation in the mind.
The act of narrating the picture narrative by displayer
transmits it, with the help of human action, from
the unconscious scope of the imagination diurnal
regime to the imagination nocturnal regime which
is conscious. That is, due to being performed in the
presence of audience, picture narration is muchmore
effective and influential. The result was obtained by
the observation of the audience’s dynamic imagination
through performance, the transformation of the
regimes from diurnal to nocturnal in three types of
picture narration and, finally, the observation of the
nocturnal regime effectiveness compared to diurnal
regime in picture narration.
