تغييرات زاويه ديد و همبستگي آن با دگرگوني هاي معنايي در هنرهاي ديداري

Relationship between variations of “Point of view” and modification of message in visual arts

هنرمندان از عناصر مختلفي براي نمايش فكر يا ايده هاي خود استفاده مي كنند و چگونگي كاربرد اين عناصر، گويايي يا گنگي پيامشان را درپي دارد. كار پژوهشي گسترده اي روي برخي از اين عناصر انجام شده؛ اما عواملي مانند «زاويه ديد»، «فاصله» و «قاب بندي» نيمه ي تاريك و چالش برانگيز اين مجموعه هستند كه كمتر به آنها پرداخته شده. عامل زاويه ديد در كيفيت احساسي و بصري تصوير نقش به سزايي دارد. ممكن است از يك زاويه، عناصر داخل كادر بهم فشرده و نامشخص به نظر برسند و از زاويه ديگر، واضح و مشخص ديده شوند. همان قدر كه انتخاب صحيح زاويه مي تواند مشوق و راهنماي مخاطب باشد، زاويه غلط هم مي تواند او را سر درگم و گمراه كند. بنابراين انتخاب زاويه بايد با در نظر گرفتن عوامل زيبايي، فني و احساسي باشد تا به بهترين وجه موضوع تصوير را به بيننده ارايه دهد. در اين پژوهش به شيوه تحقيق "توسعه اي" و روش "تحليلي-توصيفي" مفاهيم از منابع نظري گوناگون برداشت، تحليل و در طبقه بندي جديدي قرار گرفته اند تا نسبت به نمونه هاي مطالعاتي قبلي مفهوم پردازي «زاويه ديد» كامل تر ارايه شده باشد. زاويه ديد كيفيت فضا و موضوع تصوير را دگرگون مي كند و قابليت القا معاني گوناگوني را نظير: تجسم منطقي فضا/تجسم غير ممكن و آزادانه، اغراق و مبالغه/سادگي، سكون/تحرك، خودي/بيگانگي، مرموز/ قابل اعتماد، پيچيدگي/وضوح دارد.

Visual artists use pictorial elements to show their feelings or ideas in images, so it is important for them how to use these elements to convey the visual message clearly. Researchers have gained valuable result because of significant studies in some fundamental elements as: line, surface, texture, however, some factors like “point of view”, “distance” and “frame” have usually been ignored by them, yet these factors are impressive in visual communications. “Point of view” induces some effects on visual and perceptual quality of subjects in pictures. Wrong angles of view maybe make ambiguous figures, and mislead the seers, so confuse them to understand what they see in picture, in the other hand, correct angles can encourage and direct viewers to see the depicted people, objects and space in ways that image maker want they have been seen by spectator. Therefore choosing the “point of view” is a part of aesthetics, technical and perceptual aspect of image making that indicate actions, emotions, events and the meaning of picture. The approach in this study is “analytical-descriptive” and theories are chosen from different field as: Illustration, graphic design, photography, cinema and animation literatures. meanwhile the writers of this essay not only have influenced by recourses have provided visual trait of “point of view” but also utilized researches in field of anthropology and aesthetics, visual perception and history of art. We would like to claim in this study “Point of view” is conceptualized more completely rather than literal resources we mentioned before. Finally different level of meaning, visual trait and information aspect of “point of view” is put together in a simple category henceforth can be consider as an effective factor in image making. “point of view” can be consider as a significant device in moods of representation. The horizontal angle is a function of the relation between viewer and subject of picture as a frontal or an oblique point of view and there are degrees of obliqueness that these can consider as degrees of involvement of the viewer with the subject.The vertical angle is an impression of power and this is, again, a matter of degree. If the represented subject is seen from a high angle, then the relation between the seer and represented subject is depicted as one in which the represented subject is seen from the point of view of power. If the represented subject is seen from a low angle, then the relation between the seer and subject is seen that represented subject has power over the viewer. If, finally, the picture is at eye level, then the point of view is one of equality and there is no power difference involved. The point of view also excites concepts like: equilibrium/ mobility, exaggeration/ simplicity, ambiguity/ clarity, commotion/ unity. These connotative meanings attach to straight message of picture and can reveal the attitude of image maker. The most of the significant art work in visual communication take advantage by point of view to convey unconsciously the connotative meaning to the viewers.