پرده هاي ناتمام؛ نقد تابلوي عصر عاشوراي فرشچيان

A Critique on the Farshchian’s Asre-Ashura painting

در اين مقاله سعي شده از منظري گفتماني به تابلوي «عصر عاشورا» اثر استاد محمود فرشچيان نگريسته شود. بدين معني كه ايده و ديدگاه هنرمند كه در بطن اثر مستتر است به عنوان معياري براي واكاوي اثر در نظر گرفته شود. دو موضوع مهم در اين مقاله بررسي شده، اول گفتمان هاي موجود در زمينه عاشورا و قيام امام حسين(ع) دسته بندي و سپس ارتباط تابلوي عصر عاشورا با اين گفتمان ها مشخص شده است. سوال آن است كه اين هنرمند به كدام گفتمان عصر خود نزديك بوده و متاثر از كدام رويكردها يا متفكران است؟ نويسندگان نتيجه مي گيرند كه گونه هاي گفتماني مطرح در خصوص عاشورا را مي توان به سه گونه عاميانه، روشنفكرانه و عرفاني تقسيم كرد. باتوجه به تم و عناصر اصلي تابلوي عصر عاشورا، ايده و ديدگاه نقاش را بايد به گونه گفتماني اول يعني گفتمان عاميانه نزديك دانست.

The writers of this article attempt to analyze the Farshchian’s Asre-Ashura painting from a discursive perspective. It means to unveil the paintre’s idea .and sight that is implied in the painting as some criteria to study the artwork As well, it means to study the artwork in a broader context of the social and discursive changes. We have discussed two important issues in the present article. At first, we have categorized existent discourses about the Ashura and Imam Husayn’s uprising and then, we have tried to specify the AsreAshura painting relevancy to these discourses. The article main objective is to find the place of artwork amongst Ashura existent discourses and as well, to study these discourses impact on the painter. Our specific question is, to which discourse the painter contributes and by which approaches or thinker he is affected. The writers considers the painter’s idea and insight about the universe and phenomena as a fundamental element of the artwork. Then, we consider the study of the painter’s ideas and insights as a convenient way to study artworks in general. The authors conclude ,that the Ashura discourses can be classified into three categories: popular intellectual and theosophical. Furthermore, according to the theme and the main elements of the Asre-Ashura painting, the Farshchian’s idea seems to .be in line with the first category, namely popular d