نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار و عضو هیئت‌علمی دانشکده هنر و معماری، گروه پژوهش هنر، دانشگاه تربیت مدرس
2 دانشیار و عضو هیئت‌علمی دانشکده هنر و معماری، مدیر گروه پژوهش هنر، گروه پژوهش هنر، دانشگاه تربیت مدرس
3 دانشیار و عضو هیئت‌علمی دانشکده هنر شاهد، گروه پژوهش هنر، دانشگاه شاهد
4 دانشجوی رشته پژوهش هنر مقطع دکتری دانشکده هنر و معماری دانشگاه تربیت مدرس
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The influence of arts on each other has been repeated in almost all time and historical periods of art. In painting, we can see this problem even in the works of great artists. In the contemporary painting of Afghanistan, the influence of the old painting traditions of Iran can be seen. For this purpose, this research aims to analyze the pictorial traditions of old Iranian painting with an emphasis on the paintings of Kamaluddin Behzad considering the contemporary painting of Afghanistan (last sixty years), with the help of tables and pictures, the manner of these influences were analyzed, compared and investigated. The investigated variables were theme and structure. This research seeks to answer these two questions: 1. What are the features and frameworks of the ancient pictorial coordinates of Iranian painting (Kamaluddin Behzad's paintings) and their themes? 2. How are the themes and structure of old Iranian painting continued in contemporary Afghan painting? The research method is descriptive-analytical with a comparative approach. The method of collecting information is field study and library-based research (using a survey tool and qualitative analysis method). The obtained results show that pictorial traditions in old Iranian painting (Behzad's paintings) have a separate identity compared to previous periods. In this way, it has been with new ideas in painting. Independent character, the activeness of the figures, the importance of motifs and the human role and facial expressions, color coordination, soft and delicate finishes, expanding the space, unique composition (generally circular), decorations, symbols and signs and mystical themes, social realism, stories, epics which were martial and the contemporary paintings of Afghanistan also indicate the continuity of these pictorial traditions. Themes and structure are equally important in the paintings of the first period. The importance of working techniques in the correct execution of images has been highly regarded, and along with the copying of Behzad's works, the creation of images based on Behzad's principles, but with a new expression was also seen. The themes in the paintings from the forties to the seventies are literary, mystical, martial, socio-political subjects with an emphasis on human, animal and naturalistic figures combined with a structure according to Behzad's structural principles, such as: fine brushwork, soft and cottony finishes, sophisticated and natural colors, the use of old motifs and traditional composition. Humans are important in these paintings. Copying of Behzad's works has also been done in order to revive old painting. Each of the elements has its own special place, and even though they have specific characteristics, it has not created a problem in expressing the subject. This is one of Behzad's characteristics and principles that is well followed in contemporary paintings. Static and circular compositions are in continuity with Behzad's style. In identical copying, the emphasis is on lyrical figures, elements of nature, and decorations. The colors are elaborate and mature. The entirety of the image space, whether in the frame or around the frame, has been used to express the subject. The size of the images is small in profiles like before, and micrography has been one of the main goals of painters of this time. But, in the paintings of the second period, the themes and structures undergo changes compared to the previous period. Themes are more important than structure. The following techniques are used to express the purpose and theme. The formats of the compositions, which are generally circular and static and sometimes combined, have formed a strong and resistant structure. The experience of new materials and modern approaches according to the role of old technical features is one of the main features of these paintings. A more sophisticated view of imitation and copying can be seen in the paintings. The role of the figure, socio-political issues with a critical, mystical, literary and fictional, epic and naturalistic approach are among the special issues of this period. Among lyric figures, popular figures, heroes and dervishes in general and in identical copying, lyrical figures, popular figures and dervishes are more prominent. Fewer decorations, and summaries can be seen more in the image space. The theme of women as an important theme in paintings becomes very important. The use of symbols and signs inspired by Behzad was observed in the works of this period more than the previous period. In general, paying attention to subtleties by using transparent colors, finishing elements in the form of dots and lines, writing, composition, choosing motifs shows the effective steps towards the revival of old painting, especially Behzad's works. Although the personal style of some prominent contemporary painters is also reflected in the manifestation of visual qualities and different themes, which has given a new identity to contemporary painting, the spirit of Islamic religious culture and the connection of themes with the literature governing the society show the existence of the rich culture of Islam and artistic traditions in this land.
کلیدواژه‌ها [English]
)