تحليل مفاهيم عينيت گرايي و ذهنيت گرايي در نگارگري ايراني بواسطه بررسي جايگاه پرسپكتيو

Analysis of Objectivity and Subjectivity in Persian Painting by Study of Perspective

This article is a try to apply the content analysis approach to the concept of objectivity and subjectivity in Persian painting by research around the perspective principles in painting. One of the most prominent features of Persian painting is lack of use of perspective principles in picture. These specific places have been seen from neither special point nor human vision. Since none of the perspective rules in this kind of painting have not been used. It seems that all parts of the view are paid attention equally. In other words, none of the special space has not seen by human. This issue has made produced a fundamental difference between Persian paintings and the type of painting that has gained currency since the Renaissance. In this type of painting, the target space is observed neither from a specific point nor from a human beingʹs view point standing point. Advent of perspective in the European paintings was contemporaneous with beginning of Renaissance age and advent of Humanism in art and culture history. We can see perspective utilization in different paintings of Renaissance, which majority of them has resulted of Humanism theory. However, which is clear is that the perspective rules follow the visions or optical illusion; since these principles are not in real world; they are made based on human comprehension. Use of perspective principles in painting is over coming mind on nature. So our optical experiences as a subject are apart of our understanding and following our minds. However most of the Renaissance artistʹs use of perspective was as following nature. This kind of painting to bring into existence away for dominate subject over the world. According to Kantʹs view, our comprehension as a subject from nature completely depends on our mind; i.e. we can never catch the essence of the truth of world. What we are faced with is only the world of phenomena which our understanding from that is resource our mind. According to these rules, paintings with the structure of perspective-which is result of human comprehension-, have subjective quality. Therefore, since Persian painting avoided using the rules of perspective, it seems it is considered to have objective quality. Persian painting finally is going to the point that it recognizes perspective principles as optical illusion. Since objects does not get smaller or different in colors or... in nature. So Persian painter does not use these kinds of changes in his painting. Therefore it is obvious this approach considers objective world more than the subjective world. So painter neglects his own point of view. This is while most of the experts think of not using perspective in Persian painting as the result of a spiritual and subjective kind of illustration. But with considering the perspective principles and its closeness and relation to the subjective concept of Persian painting, we can have a more objective analysis. In other words, Persian painter tries to omit himself as a viewer of the world in order to draw the objective phenomena.