كليدواژه :
سياه مشق , نقاشي , خوش‌نويسي , اكسپرسيونيسم , انتزاعي
چكيده فارسي :
در تاريخ خوش‌نويسي ايران يكي از تحولات اساسي، خوش‌نويسي سياه مشق است كه سير پيشرفت خود را پيش از دوره قاجار، به ويژه، در دوره صفوي آغاز كرد و در دوره قاجار، به شكوفايي و تكامل خاصي رسيد؛ خوش‌نويسي سياه مشقيكي از قالب هاي خوش‌نويسي است كه توانست با مولفه‌هاي مدرنيسم همراه شود؛ و اوج آن‌را در دوره قاجار در آثار خوش‌نويساني همچون ميرزا غلامرضا اصفهاني، ميرزا محمدرضاكلهر، ميرحسين ترك، ميرزا كاظم،... شاهديم؛ قرابت اين جريان هنري با جريان اكسپرسيونيسم انتزاعي -كه درغرب به سرعت رشد كرده بود- باعث شد كه عده‌اي از خوش‌نويسان و نقاشان ايران با استمداد از فرهنگ بصري خود از دريچه و دستاوردهاي اكسپرسيونيسم، بار نويسه‌هاي خود را با مولفه‌هاي مدرنيسم تركيب كرده و ساحت جديدي را درحوزه هنرهاي تجسمي رقم زنند. هدف اين مقاله، بررسي وجوه اشتراك و افتراق سياه‌مشق‌هاي قاجار و جريان اكسپرسيونيسم انتزاعي در نقاشي است؛ و تلاش براين است تا به پرسش‌هاي ذيل پاسخ داده شود: 1) ويژگي هاي بصري سياه‌مشق‌هاي قاجار و اكسپرسيونيسم انتزاعي در نقاشي كدامند؟2) آثار سياه مشق هنرمندان قاجار و هنرمندان اكسپرسيونيسم انتزاعي در نقاشي داراي چه وجه اشتراك وافتراقي مي باشند؟روش تحقيق، توصيفي، تحليلي و تطبيقي بوده و شيوه گردآوري مطالب از طريق مطالعه كتابخانه‌اي و رجوع به منابع تصويري انجام پذيرفته است. با مطالعه و بررسي هاي انجام شده، نتيجه تحقيق نشان مي‌دهد، كنتراست هاي شديد، سايه روشن ها، سياه و سفيدي ها، فضاهاي مثبت و منفي ها از اشتراكات و استفاده از رنگ هاي روحي، تركيب هاي مبتني بر تناسبات طلايي و زيبايي شناسي كلاسيك در سياه‌مشق‌هاي قاجار، و در مقابل، استفاده از رنگ‌هاي جسمي، تركيب بندي مدرن و تجربه نشده، از تفاوت هاي اين دو است؛ و نيز وجوه معنايي اين دو، عبارت است از اين كه، سياه مشق ريشه عرفاني دارد و بر اساس آرامش دروني شكل مي‌گيرد؛ اما اكسپرسيونيسم انتزاعي ريشه در تالمات روحي و كنش هاي عاطفي دارد.
چكيده لاتين :
Calligraphy is one of the earliest, most creative and invaluable Iranian arts which has undergone many developments. In the history of Iranian calligraphy, Siyah Mashq is one of the fundamental developments which started its progress before the Qajar era, especially in the Safavid era, and flourished significantly during the Qajar period. "Siyah Mashq" is a calligraphic form that could be associated with the components of modernism, reflected in the works of Qajar calligraphers such as Mirza Gholamreza Isfahani, Mirza Mohammad Reza Kalhor, Mir Hossein Turk and Mirza Kazem. On the other hand, the abstract expressionism that emerged in the post-World War II era in the United States may be regarded as one of the latest art forms in the West influencing Iranian calligraphy and painter artists. This art movement which is a kind of pattern-free painting, lacks basic forms while utilizing a spontaneous, dynamic and free-spirited style. The strange affinity of the black practice with the abstract expressionism grown rapidly in the West, made some Iranian calligraphers and painters combine their own manuscripts with modernism and use their visual culture as well as the products of expressionism. So, they created a new style of art. From the artistic point of view, calligraphy from of Mir Emad period, so far, has experienced little development and nothing new has been said in Nastaaliq calligraphy except for the Siyah Mashq. From the emergence of today's Siyah Mashq, another artistic development has taken place in Nastaliq, the emergence of modern calligram and graphic calligraphic effects that has opened a new era. Many secrets lie in letters and words, which are revealed in the calligram. Siyah Mashq is in fact the way of the art of calligraphy to this day. The way in which a new word comes up. Calligraphic graphic may seem canvassing, but from the evolvement point of view, it is an inevitable and algebraic evolutionary movement in order to link to traditional calligraphy with today’s modern art. The purpose of this article is to examine the common and diversified aspects of Qajar Siyah Mashq and the abstract expressionism in painting and the attempt is made to answer the following questions: 1. What are the visual features of Qajar Siyah Mashq and the abstract expressionism in painting? 2. What are the universal aspects of the Qajar artists and the abstract expressionists in the painting? Undoubtedly, the world of Iranian calligraphies and paintings is not incompatible with the abstract expressionism of the West. Considering the influence of these two works of art on the formation of a group of works of contemporary Iranian artists, the study and recognition of the commonalities between these two streams is very significant and contemplative; and to distinguish between Siyah Mashq calligraphy and abstract expressionism paintings. It is noteworthy that although some research has been done in this area, the comparison of the two artistic fields is a subject that has not been addressed in other studies. The research follows a descriptive, analytical and comparative method and data gathering developed through library study and referring to the video resources. According to the studies conducted, the research findings demonstrate that sharp contrasts, shades, blacks and whites, positive and negative spaces and using spiritual colors and combinations based on classic golden proportions and aesthetics are of common aspects in the Qajar Siyah Mashq. Also, using the physical colors, modern and inexperienced compositions, are among the differences found between these two styles. Semantically, Siyah Mashq roots in mystics and originates from the inner peace, however, the abstract expressionism relies on the spiritual influence and emotional reactions
