مطالعه صورت بندي مولفه هاي آثار نقاشي زنان در ايران در دهه هاي 1370 و 1380

A study on the forms and components of Iranian female painters’ artworks

هدف از اين پژوهش شناخت مولفه هاي نقاشي زنان در دهه هاي 1370 و 1380 است. بي شك، گشايش فضاي هنري براي فعاليت ِ زنان و افزايش شمار زنان نقاش ميداني براي شناسايي اين فضا فراهم مي آوَرد. در اين پژوهش، از نظريه جيمز پل جي و روش تحليل متن او استفاده شد. جامعه آماري شامل دَه زن نقاش معاصر است: پنج هنرمند از فعالان دهه 1370 و پنج هنرمند از دهه 1380. از هر هنرمند دَه اثر، بر اساس روش تحليل متن، برگزيده و تحليل شد. بر اساس داده ها و نتايج اين پژوهش، آثارِ اين نقاشان معاصر ايراني تقريباً داراي مولفه هاي مشتركي است؛ اين مولفه ها از تجربيات همسان زنان هنرمند در جامعه ايراني سرچشمه مي گيرد.

This paper is an attempt to explain the form and components of Iranian female painters artworks in the 70s and80s hijri. It seeks to assess women’s paintings of two decades ago in comparison with current Iranian artworks. Undoubtedly, the growth in the number of those who produce artworks motivates the researcher to study women’s produced paintings to identify Iran’s current art field. To achieve this goal, the theory of Paul Gay and his method in text analysis are used. Our study sample consists of 10 current female artists (five from the 70s and five from the 80s). From each artist 10 works are chosen to analyze. Our research findings show that the components and structure of current female works can be interpreted as a tendency to urban and industrial system of the contemporary world, individual identity, religious beliefs and femininity. On the other hand, the important position of the feminine gender identity and the appearance of female’s life environment in today’s world are revealed. In addition, it can be said that Iranian art in the 70’s hijri , has changed gradually and it has moved towards existing reality. These changes are dependent on the relation with the international art and a close attention to the society. Beside these processes, women's art has been grown considerably since two decades ago. Furthermore, the existed structure and components in the paintings under study reveal the identification and direction of the art among contemporary women painters. There are almost common structures in the paintings which are derived from the common experiences of the Iranian society at large. Female artists in these two contemporary decades have moved toward their personal and individual dialogue. The female group of artists is gradually questioning the dominance of male group to reach their own personal language and individual concerns