كليدواژه :
نمادگرايي رنگ , فضاسازي فرهنگ ايراني اسلامي , انيميشن , انيميشن ايراني-مذهبي
چكيده فارسي :
رنگ‌ها هويت‌بخش و هويت‌ساز فرهنگ‌ها هستند و ريشه‌اي كهن در زيست بوم‌هاي گوناگون دارند. رنگ‌ها، نقش و معناهاي متفاوتي را در كشورهاي مختلف دارا بوده و رهيافت و رويكرد ملت‌ها نسبت به آن ناهمگون و متمايز است. ايران زمين با قدمتي كهن در بافتار سنتي و يا مدرن خود از وجوه و ويژگي‌هاي رنگ در همه زمينه‌هاي زيستي و داشته‌هاي فرهنگي، هنري و مذهبي‌اش بهره برده است. سواد رسانه‌‌اي و آگاهي مخاطبان، فيلم‌سازان و توليدكنندگان هنر انيميشن را به سوي سينماي بصري رهنمون ساخته و رنگ در اين راستا به‌عنوان عنصري مهم نقش قابل توجه‌ايي دارد. انيميشن ايران با قدمتي طولاني، متأثر از چنين رويكردي سال ها در تلاش است كه از خصايل رنگ‌ها در تبلور و پرتوافشاني دين و فرهنگ ملي سود جويد. پژوهش حاضر با هدفي كاربردي منزلت و جايگاه اين باور ملي در خصوص نقش نمادين رنگ را مورد بررسي قرار داده، و مسأله اصلي آن واكاوي چگونگي استفاده از رنگ در فضاسازي انيميشن‌هاي مذهبي ايراني دهه 90 است. روش تحقيق كيفي با رويكردي تحليلي، توصيفي براساس گردآوري اطلاعات از منابع كتابخانه‌ايي و آرشيوهاي صوتي تصويري مي‌باشد. در اين راستا پژوهشگر با انتخاب هدفمند فيلم‌هاي «آقاي مهربان»، «شاهزاده روم» و «آخرين داستان» را مورد بررسي و مداقه قرار داده است.
چكيده لاتين :
Colors are the identifiers of cultures and have ancient roots in various ecosys tems.They have different roles and meanings in different countries and the approach of nations is heterogeneous and different. Iran, with its ancient antiquity in its traditional or modern context, has used the aspects and characteris tics of color in all its biological fields and cultural, artis tic and religious resources. Iranians have tried to express their beliefs in different forms and in indirect ways. The way of indirect expression in the cultural and literary contents of poetry and prose, carpets, paintings, architecture, etc.,crys tallizes the special aes thetics that is unique to this country. Visual elements such as colors have always had an overt or covert identity in these works, which have been used in accordance with Iranian beliefs. Colors play an important role in giving meaning to different elements, and each of them expresses different concepts. Colors can make an environment happy or sad. They have also had a significant impact on various religions and rituals of the pas t centuries and in the Qur’an, hadiths and narrations, the effective properties of colors have been mentioned many times. Animation, as a pervasive medium, has the ability to portray fantasy in the bes t possible way, Media literacy and awareness of audiences have led filmmakers and producers of animation art to visual cinema, and color has a significant role in this regard as an important element. Iranian animation with a long his tory, influenced by such an approach, has been trying for years to take advantage of the properties of colors in the crys tallization and radiance of national religion and culture. Unders tanding such a concept, Iranian animation productions have been able to play a significant role in es tablishing national and international relations with domes tic and non-domes tic audiences based on these characteris tics. The present s tudy examines the s tatus of this national belief in the symbolic role of color with a practical purpose, and its main objective is to analyze how color is used in the atmosphere of Iranian religious animations of the 90s SH. The research method is qualitative with an analytical-descriptive approach and data collection has been done through library sources and audio-visual archives. In this regard, the researcher has purposefully selected the films “Mr. Kind”,”Prince of Rome” and “The Las t S tory”. What has been found from the s tudy and analysis of selected religious animation films in the 1390s SH. shows that color has a symbolic function in Iranian culture and Islamic mys ticism, and artis ts have used this in various explicit and implicit ways. The saints are often depicted in green and white and luminous faces, and the forces of evil in colors such as red and black. Angels also wore blue and gold cos tumes to symbolize the realm of dominion. The crys tallization of this approach and the symbolic use of color has been in accordance with the symbolic aspects in Iranian mys ticism and often with special attention to Qur’anic interpretations and has been reflected in the s tructure of religious animations of the 90s SH.
