خوانش بيش متني چهار اثر برگزيده تصويرسازي كلوديا پالماروسي با پيش متن هايي از نقاشي ايراني

Hypertexttualite study of four selected impressions of Claudia Palmarucci with hypertexts of Persian Painting

نقاشي ايراني به عنوان يكي از زيباترين جلوه هاي فرهنگ ايراني_اسلامي، واجد ويژگي هاي بينشي، مضموني و ساختاري است كه آن را مورد توجه هنرمندان و پژوهشگران بسياري قرار داده است. كلوديا پالماروسي، تصويرساز ايتاليايي معاصري است كه پيش متن چهار اثر شاخص خود را طي سال هاي 2015و2016 از نگاره هاي ايراني برگزيده است. اين گزينش بيش از همه براساس ويژگي هاي ساختاري نقاشي ايراني صورت گرفته است. هدف از اين پژوهش مطالعه چگونگي ارتباط ميان اين آثار پالماروسي و پيش متن هاي برگرفته آنها از نقاشي ايراني است. اين پژوهش درصدد پاسخ به اين پرسش ها است كه رابطه ميان اين آثار با پيش متن هاي خود چگونه تبيين مي شود؟ و در فرآيند اقتباس اين آثار از نگاره هاي ايراني چه تغييراتي صورت گرفته است؟ اين پژوهش با هدف بنيادي و به شيوه توصيفي_تحليلي و تطبيقي است كه با روش ترامتنيت و رويكرد بيش متني صورت گرفته است. در جمع بندي نتايج اين پژوهش مي توان گفت كه ارتباط ميان متن هاي پيشين و پسين از نوع درزماني و بينافرهنگي بوده و بيش متن ها با تغيير و تراگونگي در پيش متن ها ايجاد شده اند. فرآيند اقتباس آثار تصويرسازي پالماروسي از نگاره هاي ايراني، اگرچه با توجه به ويژگي هاي ساختاري نقاشي ايراني با تغييرات بسياري چون تغييرات فرهنگي، روايي، نشانه اي، زماني، جنسيتي، سني و... همراه بوده، اما يك انتقال فرهنگي-هنري را درپي داشته است.

Persian painting is one of the most beautiful aspects of Islamic-Iranian culture، qualifying insight، content and structure features that have attracted attention of many artists and scholars، So that in written texts devoted to describing and analyzing it. But paintings and pictures by themselves، have been less imitated and adapted by western painters and artists. As it is not far from reality، to say that it has never been so and significant effect has been made in this context. Perhaps، its reason can be the result of main and important differences between Iranian and western paintings with respect to worldview، formal structure، content and sense، signal discipline، technics and manner and… Claudia Palmarucci، is Contemporary Italian imager that have chosen hypotext of four selected impressions of himself during 2015 and 2016 of Iranian painting Timurid and Safavid (9 and 10 AH). This selection is based on structural features of Persian painting. Therefore it can be said، this is the first time such an obvious adaptation of Persian painting was done by a Western artist. Hence، there is an attempt to study and evaluate how is the connection and interaction between desired texts، and also its resources and references with one of the most important methods and approaches in twentieth century in critics and review of literary and art works. This method which is assigned to relations between texts، is generally called intertextulite. The aim of this study is to explore the relationship between these works and hypotext of Iranian painting. This study seeks to answer this question that how the relationship between these works with self pre-text is explained. And what changes have been occurred in the process of adaptation of these works of Iranian paintings? This research is fundamental and descriptive-analytic and comparative and with Transtexualite method and has been done with the hypertext approach. In every connection between the text under review، relation between previous and next desired texts، with regard to time and inter cultural aspects، these previous and next texts have time duration with each other and cultural origins are different، which result in differences in pictorial properties of them. Moreover، some factors such as differences in cultural – art backgrounds and textures، difference in audience age and – also are factors of intra text which is effective on how these covering relations are accounted which all of these factors are as a whole basis of creating hypertexts by changing and transformation in hypotexts. These changes which are made by structural properties and formal pre-texts، have different shapes of transformation، and finally In summing up the results of this study، it can be said that derivation process works Palmarucci imagery of Iranian paintings، however، due to the structural features of Persian painting has been faced with many variations like Internal changes، cultural change، validity، sign، time، gender، age، …، but had followed a cultural-art transmission.