Videos by Hoda Zabolinezhad
مصاحبه دکتر هدا زابلی نژاد در پارک علم و فناوری دانشگاه علم و فرهنگ در دومین جایزه ملی بسته بندی ... more مصاحبه دکتر هدا زابلی نژاد در پارک علم و فناوری دانشگاه علم و فرهنگ در دومین جایزه ملی بسته بندی محصولات فرهنگی 5 views
Papers by Hoda Zabolinezhad
https://www.revueplume.ir/article_218409.html, 2025
چکیده
در این پژوهش، پرسش اصلی ارزیابی نقش مخاطب در روند دریافت اثر معاصر است، چه این اثر ادبی با... more چکیده
در این پژوهش، پرسش اصلی ارزیابی نقش مخاطب در روند دریافت اثر معاصر است، چه این اثر ادبی باشد، چه هنری. این ارزیابی از دید نظریه فلسفی »چشم بی گناه» صورت می گیرد. نظریه ای که توسط جان راسکین بنیان گذاری شد و توسط کلمانت گرینبرگ توسعه یافت. از این دیدگاه پرسش اینکه امروزه چه کسی به عنوان مخاطب در معنای عام آن در نظر گرفته می شود، و ویژگی های اصلی این مخاطب کدام است؟ مهم می شود. در روند پیشرفت پژوهش، ایده اصلی نظریه «چشم بی گناه» از منظر فلسفه تحلیلی توسط آرتور دانتو، پس از بررسی دقیق به چالش کشیده می شود. او معتقد است که عدم در نظر گرفتن عادات درونی مخاطب در لحظه دریافت تصویر، حتی زمانی که مربوط به یک شیئ واقعی می شود، غیر ممکن است. دریافت اشیائ یا تصاویر نزد هر شخصی متفاوت است و این تفاوت، به دلیل فاکتورهایی همچون جنسیت، نژاد، سن، موقعیت جغرافیایی افراد و غیره است. دانتو در مورد نظریه راسکین و گرینبرگ تأکید می کند که می توان به صورت کامل این نظریه را رد کرد و چنین چیزی امکان پذیر نیست. بلکه کاملا مشخص است که امروزه هر چیزی می تواند قابلیت این را داشته باشد که اثر هنری تلقی شود.
کلیدواژه‌ها
نظریه «چشم بی گناه» دریافت مخاطب اثر ادبی اثر هنری هنر معاصر
Plume, 2025
This study explores how the "Innocent Eye" theory—first introduced by
John Ruskin and later devel... more This study explores how the "Innocent Eye" theory—first introduced by
John Ruskin and later developed by Clement Greenberg—explains the
ways spectators perceive literature and contemporary art. To frame this
inquiry, it is essential to first define the concept of the "spectator" and
identify its key characteristics. As our research has progressed, it has
become evident that the "Innocent Eye" theory has been subject to
significant philosophical critique, most notably by Arthur Danto, who
challenged its foundational presuppositions. Our findings emphasize
that spectators’ perception is never entirely neutral or "innocent," as
stated by the theory. It is always prone to bias, as individual responses to
images and objects are inevitably influenced by factors such as gender,
ethnicity, age, and geographical background. The study offers a
convincing rejection of the 'Innocent Eye' theory, demonstrating that
perception is inherently subjective. Within the context of contemporary
aesthetics, virtually any object or image can be interpreted as an artwork,
depending on the spectator's internalized perspectives and experiences.
Plume, 2025
Dans cette recherche, la question essentielle est d’évaluer le rôle du spectateur dans le process... more Dans cette recherche, la question essentielle est d’évaluer le rôle du spectateur dans le processus de la réception d’une œuvre contemporaine, qu’elle soit littéraire ou artistique, du point de vue de la théorie de « l’œil innocent », présentée par John Ruskin puis développée par Clement Greenberg. Il est de ce fait important de savoir qui est aujourd'hui considéré comme spectateur en général et quelles sont ses principales caractéristiques. Au fur et à mesure de cette recherche, l'idée de la théorie de « l’œil innocent » récemment analysée contestée et critiquée par Arthur Danto d'un point de vue philosophique, est mentionnée. Il est impossible de ne pas considérer l'aptitude intériorisée de réagir au moment de la réception des images, même lorsqu’il s’agit d’objets réels. La perception des objets ou des images est différente chez les individus. Elle est due aux divers facteurs tels que le sexe, la racine ethnique, l'âge, la localisation géographique, etc. des êtres humains. Danto l’affirme à propos de Ruskin, somme toute, nous pouvons rejeter entièrement la théorie de Ruskin et Greenberg et il est possible de soutenir qu'une telle chose n'existe pas et il est évident qu'aujourd'hui n'importe quoi peut devenir œuvre.
https://www.icahu.com/fa/#, 2025
چکید :ارسی سازی از دوره ی صفوی در شهر سنندج به عنوان عنصر اصلی تزئینات معماری رواج پیدا کرد و د... more چکید :ارسی سازی از دوره ی صفوی در شهر سنندج به عنوان عنصر اصلی تزئینات معماری رواج پیدا کرد و در طول دوره های دوره های بعدی یکی از اصلی ترین هنرهای بومی این شهر با ویژگی های مخصوص به خود شد. در طی این پژوهش سعی بر این است که به پرسش پژوهشی حاضر پاسخ داده می شود: شاخصه های اصلی ارسی های سنندجی که آنها را از سایر نمونه های موجود در ایران متمایز می کند چیست؟ روش تحقیق به صورت تاریخی -توصیفی و بر مبنای دو روش میدانی و کتابخانه ای صورت گرفته است. نتیجه چنین حاصل آمد که سه نوع اصلی ارسی در شهر سنندج وجود دارد: الف ارسی ها و درهایی که در مجاورت سرما که با لاک الکل و پارافین به عنوان لایه دومی بر روی قشر چربی روی چوب ها پوشانده می شده، ب ارسی هایی که در مجاورت مستقیم نور مستقیم خورشید بوده و فقط با روغن برزک چرب میشده وج ارسی هایی که در فضاهای داخلی بوده و بدین دلیل فقط از لاک الکل که براق بوده و به منظور زیبایی استفاده میشده است. نوع تزئین اصلی ارسی های سنندج نیز از نوع گره چینی اصفهانی، اسلیمیگیاهی و یا تلفیق هر دو بوده.
واژگان کلیدی: ارسی، شهر سنندج، معماری اسلامی، هنرهای سنتی ایرانی، دوره ی صفوی، دوره ی زند و قاجار
Language Related Research, 2024
Résumé
Cet article présent, nous ne projetons en aucune façon d'établir ou
de définir ce qu'es... more Résumé
Cet article présent, nous ne projetons en aucune façon d'établir ou
de définir ce qu'est l'art, dont l'œuvre d'art en ontologie. Ce n'est
pas notre préoccupation aujourd'hui, et non plus davantage de la
plupart des artistes contemporains. À la recherche d'une ontologie
bien particulière sur l’œuvre d’art contemporain, Roger Pouivet,
le philosophe contemporain français, l'appelle « l'ontologie
appliquée ». Il s’agit de considérer l'œuvre en tant que telle, sans
se préoccuper des catégories fondamentales qui la possèdent. À ce
stade, il paraît nécessaire de parler du changement de paradigme
dans le champ d’arts plastiques, qui résulte de l'apparition des
œuvres des textes écrits ou oraux.
En ce qui concerne le concept de « Zugganzes » de ’Heidegger,
il faut bien comprendre, quoi qu'il en soit, le cumul des éléments
nécessaires jusqu’à ce que l’établissement d’un système s’achève.
Cela veut dire que pour un processus de créer une œuvre d'art
contemporain il explique qu’à la fois chaque élément a son rôle
clé, même indispensable, et une mission pour compléter le rôle
des autres éléments.
Ecohumanism journal, 2024
An attempt is made to answer the questions: How to base the Utterance system in the visual texts ... more An attempt is made to answer the questions: How to base the Utterance system in the visual texts of Iranian painting, based on
commitment discourse theory in the literature of the 60s and 70s? and What is the main difference between the Utterance and Discourse
systems in visual arts? The generating institutions of this type of Utterance system necessitate the referential function for visual texts as
the main component in the formation of such texts. According to these institutions, production of artwork as classical and ornamented
texts convey only one meaning, unlike the phenomenal texts with multiple meanings, next to illustrating how some outstanding and
common semantic signs lead to the formation of this type of Utterance system in the Iranian art.
The study aims to review the illustration methods of four top illustrators in Czechoslovakia. Its... more The study aims to review the illustration methods of four top illustrators in Czechoslovakia. Its purpose is to understand their successful approaches and recognize the unique characteristics of their works, which convey personal ideas and thoughts. The study delves into the most important illustration techniques employed by these artists. The central research question seeks to uncover the expression methods and execution techniques used by these top illustrators to convey their ideas and emotions. Culture and customs play a pivotal role in an illustrator's work. No artist can create truly ingenious works divorced from the cultural context of their hometown. Their visual language becomes a reflection of their culture, and this authenticity contributes to the value of their creations. Sensitivity to children's perceptions of life, art, culture, and the future is essential for compassionate and impactful work. These illustrators are deeply committed to their young audience, shaping the future through their art. This research follows a fundamental descriptive-analytical approach, with data collection primarily based on library resources.
فصلنامه علوم سیاسی, 2023
هدف پژوهش حاضر، کاربردشناسی ِگفتمان تعهد و مسألهی خودمداری در هنر نقاشیِ دو دههی ۴۰ و ۵۰، به وی... more هدف پژوهش حاضر، کاربردشناسی ِگفتمان تعهد و مسألهی خودمداری در هنر نقاشیِ دو دههی ۴۰ و ۵۰، به ویژه نهادهای مولد این نوع گفتمان تعهد است. روش پژوهش، تحلیل محتوای کیفی بوده و به این پرسش اصلی پاسخ داده شد که نقش گفتمان تعهد از منظر ارنستو لاکلو، شانتال موف و نورمن فرکلاف، منجر به بروز چه ویژگی‌هایی در زبان بصریِ هنر نقاشی ایران در دو دههی ۴۰ و ۵۰ شمسی شده است؟ نتایج نشان داد که چه شاخصه‌هایی باعث شکل‌گیری این نوع گفتمان تعهد در هنر نقاشی دو دههی 40 و 50 ایران شده است. بر اساس گفتمان تعهدِ به وجود آمده در این دو دهه، شاخصه‌های بصری اصلی نقاشی متعهد و خودمدار به این شرح است: نقاشی، معمولاً فیگوراتیو (شکل گرا) و روایت‌گرا (محتوا محور) بوده است؛ فرم و محتوا به صورت جدا دیده میشده؛ نوجوییِ فرمالیستی در فرمهای بهکاررفته در نقاشی مورد پذیرش نبوده؛ فهم آن برای اکثریت عامهی مردم ساده بوده؛ تودهها برای قطع دست رژیم فاسد و امپریالیسم، خصوصاً آمریکا، از ثروت‌های عمومی کشور تهییج میشدند که این کار همراه با انتقال مفاهیمی همچون ظلم‌ستیزی، عدالت‌خواهی، اسلامخواهی، بازگشت به خویشتن، خودمداری، بومی‌گرایی و... بوده است؛ همگی این مفاهیم، متعارض با رژیم پهلوی بوده و دال مرکزیِ مورد نظر برای گروههای مذهبی، اسلامخواهی و خلق‌گرایی برای گروههای چپگرا بوده است.
Politic Sciences Quarterly, 2023
America, from the public wealth of the country, which was accompanied by communication of concept... more America, from the public wealth of the country, which was accompanied by communication of concepts such as fight against injustice, pursuit of justice, pursuit of Islam, return to oneself, autonomy, nativism, etc.; all those concepts were against the Pahlavi regime, and the central node for religious groups was Islamism, and for leftist groups was populism.
International Journal of Criminology and Sociology
There have been conducted a few numbers of researches with protest-related subjects in visual art... more There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention. Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the governors.
مجموعه مقالات چهاردهمین جشنواره هنرهای تجسمی فجر, 2023
O Papel das caixas de sabonetes Brillo de Warhol na Estética Contemporânea, baseado na “Applied Ontology” de Roger Pouivet
This paper, based on Roger Pouivet’s “applied ontology” theory, studies the effect of Warhol’s Br... more This paper, based on Roger Pouivet’s “applied ontology” theory, studies the effect of Warhol’s Brillo soap boxes, a work that could not convince the art world, when it was first shown, to accept it as an art piece. We strive to answer two questions: In the contemporary age, what aesthetic criteria turn a human-made work into an artwork? And deriving from Pouivete’s “applied ontology” theory, how is a contemporary artwork considered as the personal symbols of the artist and how are the aesthetic characteristics of the work received? An artwork in any style, form and content, includes contextual and formal symbols. In the contemporary age, this becomes a mix of personal symbols and already known collective symbols of a culture that together play a defining role in the creation of the artwork. In other words, a work will be recognized as an artwork when it is the subject of arguments among art experts, even without needing to reach any consensus.Este artículo, basado en la teoría de la...
Journal of Graphic Arts and Painting Research, 2022
The present study is an investigation of the methods of illustration in the works of four top Cze... more The present study is an investigation of the methods of illustration in the works of four top Czechoslovak illustrators. This paper examines the effects that these illustrators had on their contemporary illustration society in Czechoslovakia and in order to know the ways of formation, and the characteristics of the successful works of these four illustrators, in depicting personal ideas and thoughts and in the impact and communication with the audience too, it has compared the most important and diverse methods of illustration in the works of these illustrators.
Czech and Slovak artists are skilled and creative designers and painters who have a personal approach and attitude, which distinguishes each of their work from others. Definitely, seeing these works, analyzing and investigating the reasons for this superiority and distinctiveness is useful and effective for every illustrator. Knowing and using each of these features can be a factor in creating a successful work of illustration.
The purpose of examining the works of these illustrators is to answer the following research questions: What are the expression methods and performance techniques in displaying personal ideas and feelings that the four best illustrators of this country, which is currently divided into two parts, the Czech Republic and Slovakia, benefited? What are the difference and similar characteristics between the choice of technique and story concepts in their works? What features have made the works of Czechoslovak artists successful and prominent? How have they used various technical methods to portray their personal thoughts?
This fundamental type of research, is descriptive-analytical and the method of collecting information is library type. It is worth mentioning that the examination and analysis of visual works is important in order to perpetuate the image in the mind. According to the subject of the research; looking at the illustration techniques of Czechoslovak illustrators, we find out that the secret of each work's permanence is within itself. In this way, copying and imitating the works of other artists will not achieve their goal of publishing a pure work. Of course, by observing all the principles that must be observed in an illustration work, which includes: correct composition, design from the good point of view, choosing the right colors and the most important point is their creativity.
In this research, all the reviewed works have been composed of all these factors and by keeping all these principles, they have tried to communicate with the audience by expressing their feelings, and most of the works have come to a conclusion after several years of working on it. After the studies and investigations ; based on the visual elements and the type of technique and the physical structure of each work has been accepted, regarding the illustrating techniques and according to his frameworks of attracting the audience, and following their special visual elements and characteristics.
In the process of this research, we find out that the examination of the work characteristics of each of these artists depends on the collective past of the people of his land, and his mentality of his hometown, which have become internal and external personal and social stimuli, no illustrator can be separated from his culture and customs. The artist's hometown offers original works and, they actually expresses their culture with visual language. Each illustrator has their own special style and technique, despite being skilled in their work, which distinguishes them from others and gives them individual originality in illustration. Gaining a strong hand in design through practice, even the illustrators who work very freely and full of mysteries and symbolist forms. If these artists were not sensitive to children world and their perception of life, art, culture and future, they could not depict the childish and pure world as eloquently as possible. Most of them are the authors of books for children and teenagers, or they have special expertise for children in some fields other than illustrating childrens' books.
By examining the biography, collection of works and characteristics of each artist's work and sometimes speeches or articles by them and other experts, we found a set of specific aspects in the work of each artist and by summarizing all these contents, we realize some basic points which are:
Having their own visual language that is different from the visual language of other contemporary artists ; having a unique style and method that is not imitation and it comes from the mind and feelings of the illustrator. Every illustrator has their own technical style, which distinguishes them from others and gives them individual originality.
The step-by-step cooperation of the illustrator with the author of the story ; sometimes, some illustrators work with the author in a step-by-step way, illustrating and writing, during the period when the book is being written and illustrated, the author and the illustrator are constantly working with each other. Each of them, if not to say that they interfere in the others' work, have a significant impact on each other's work.
Having a strong design power; all these illustrators have started with drawing and painting and having a lot of training and practice, in order to reach more mature works and a strong hand in drawing. Even those who work very freely and full of mystery and symbolism, also show a strong design in their works.
Most of these illustrators have a poetic sense in their works, and this is that distinguishes their works from others and makes them worthy of contemplation, full of creativity and pleasant for children.
Most of these artists are very committed to children and their issues from the artistic and psychological aspects. If these artists were not so sensitive about the children and their perception of life, art, culture and the future, they could not work deeply and sympathetically. It must be told that most of them, are authors of children's books, or have special expertise of children in some fields other than Illustration is also for them.
In summary, drawing for children is a very sensitive, responsible and difficult task. Those who work for children, in addition to having strong technical expertise and a lot of creativity in their work, must always consider the conditions of their audience, including their age; how do they deal with issues; in what way do they think and to what extent is their freedom in this direction; how do they harmonize their language with the children's' language and understanding; how to give wings to the kids' understanding and imagination center to attract them to think and create more. Because, the future belongs to the children.
Journal of Graphic Arts and Painting Research, 2022
پژوهش حاضر بررسی و مرور شیوه های تصویرسازی در آثار چهار تصویرگر برتر چکسلواکی است. این مقاله تاثی... more پژوهش حاضر بررسی و مرور شیوه های تصویرسازی در آثار چهار تصویرگر برتر چکسلواکی است. این مقاله تاثیراتی را که این تصویرسازان بر روی جامعه تصویرگری هم عصر خود در چکسلواکی داشته اند، بررسی می کند و به منظور آگاهی از نحوه شکل گیری و شناخت ویژگی های آثار موفق این چهار تصویرگر، در به تصویرکشیدن ایده ها و اندیشه های شخصی و در اثرگذاری و ارتباط با مخاطب، مهم ترین روش های متنوع تصویرگری در آثار این تصویرگران را مدنظر قرار داده است. هدف از بررسی نمونه آثار این تصویرسازان پاسخ گویی به این پرسش پژوهشی است: چهار تصویرساز برتر این کشور از چه روش های بیانی و تکنیک های اجرایی در به نمایش گذاشتن ایده ها و احساسات شخصی خود بهره برده اند؟ این پژوهش از نوع بنیادی و توصیفی تحلیلی بوده و روش گردآوری اطلاعات از نوع کتابخانه ای است و در فرایند این پژوهش درمی یابیم که بررسی ویژگی های کاری هرکدام از این هنرمندان بستگی به گذشته جمعی مردم سرزمینش و ذهنیات او از زادگاهش دارد که تبدیل به محرک های درونی و بیرونی شخصی و اجتماعی شده است؛ در حقیقت، هیچ تصویرگری نمی تواند جدا از فرهنگ و رسوم زادگاهش کارهای با اصالت ارایه دهد و او در واقع فرهنگ خویش را با زبان تصویری بیان می کند . هر تصویرگر با وجود داشتن مهارت در کار ، دارای سبک و تکنیکی ویژه خود است که وی را از دیگران متمایز و به او اصالت فردی می بخشد. تصویرگر برای برخورداری از قدرت طراحی قوی، ابتدا با طراحی و نقاشی آغاز کرده است و برای رسیدن به کارهای پخته تر و دستی قوی در طراحی، حتی آن هایی که بسیار آزاد و پررمزوراز و سمبلیک کار می کنند، تمرین و ممارست بسیار داشته اند. این هنرمندان اگر نسبت به کودکان و تلقی آنان از زندگی ، هنر ، فرهنگ و آینده حساس نباشند ، نمی توانند عمیق و دلسوزانه کار کنند و اغلب آن ها نویسنده کتاب های کودک یا به نحوی دارای تخصص های خاص مرتبط با کودکان در بعضی زمینه های دیگر غیر از تصویرگری هستند.
Conference on Art and Communication, 2022
Due to the characteristics of contemporary art, the most prominent of which are the emergence of ... more Due to the characteristics of contemporary art, the most prominent of which are the emergence of many schools, methods and artistic movements simultaneously, which makes the practice of historical classification in contemporary art impossible, as well as the growing importance of personal symbolism of artists especially in world culture, the fundamental issue of changing paradigms in personal symbolism in contemporary art is of particular importance.
This paper tries to answer research questions: 1. How do paradigms change in personal symbolism in contemporary art? And 2 How does personal symbolism relate to the obvious and expressive concepts proposed in analytic philosophy? Respond and address the obvious and expressive concepts in the process of personal symbolism in contemporary art; Accordingly, all human actions, including the creation of artworks, are derived from one of these concepts, and in order to identify it, the cause or stimulus of any human action must be considered and if the stimulus is based on his personal will to achieve communication with the audience, so this action is a category of expressive concepts, and not an Objective one that lacks such a stimulus. It should be noted that in this article, only the artwork, itself is considered as a whole unit, in which the simultaneous reading of the part to the whole, and the whole to the part of the work of art is considered.
In this, using analytical research method and library data collection method, it has been concluded that by changing the paradigms in contemporary art, what turns a human work into an artwork is the same discussions and discourse exchange that in the accepted world takes place in the culture of any country, or the world culture as the world of art, without the need for agreement between all members of the art world to accept the work as a work of art.
Calle 14 revista de investigación en el campo del arte
Este artículo estudió los cuadros de Sani ol-Molk, un artista Qajar iraní, y los de Chagall, un a... more Este artículo estudió los cuadros de Sani ol-Molk, un artista Qajar iraní, y los de Chagall, un artista ruso-judío, y tiene por objetivo responder la pregunta por qué elementos y técnicas utilizaron los artistas para ilustrar historias de Las mil y una noches de tal modo que la forma sirviera apropiadamente al contenido. Los dos pintores, Sani ol-Molk y Chagall, con puntos de vista particulares, influenciados por discrepancias socioculturales de Oriente y Occidente respectivamente, crearon cuadros para las historias utilizando sus propios estilos artísticos. Este artículo comparó pares de ilustraciones de Sani ol-Molk y Chagall que tienen el mismo tema pero son completamente distintos tanto estructural como estéticamente. También analizó las obras en cuanto a la forma, la composición, el color, los elementos visuales y los símbolos. Los pares se dividen entre tres categorías de acuerdo con su tema, lo cual incluye romances, imaginarios, y la vida cotidiana. A pesar de las diferencia...
Artículo de investigación, 2022
Abstract
This paper studied the paintings of Sani ol-Molk, a Qajar Iranian artist, as well as tho... more Abstract
This paper studied the paintings of Sani ol-Molk, a Qajar Iranian artist, as well as those of Chagall, a Russian-Jewish artist, and it aims to answer the question of what elements and techniques were employed by the artists to illustrate One Thousand and One Nights stories in such a way that the form appropriately serves the content. The two painters, Sani ol-Molk and Chagall, with distinct viewpoints, influenced by Eastern and Western socio-cultural discrepancies, respectively, created paintings for the stories using their own artistic styles. This paper compared pairs of Sani ol-Molk and Chagall’s illustrations that have the same theme but are completely different both structurally and aesthetically. It also analyzed the works in terms of form, composition, color, visual elements, and symbols. The pairs are divided into three categories in terms of their subject, including romances, imaginaries, and everyday life. Despite the considerable differences between the works of the two painters, both Sani ol-Molk (by combining naturalistic techniques and Qajar painting styles) and Chagall (by freely using Western visual culture, colors, and forms and mixing them with Iranian, Indian, and Arabic elements as well as with oriental lighting) illustrated One Thousand and One Nights successfully and achieved to create a fantasy.
Civilica, 2022
با توجه به ویژگیهای هنر معاصر که شاخصترین آنها پیدایش مکاتب، شیوهها و جنبشهای هنری بسیار زیادی به... more با توجه به ویژگیهای هنر معاصر که شاخصترین آنها پیدایش مکاتب، شیوهها و جنبشهای هنری بسیار زیادی بهصورت همزمان است که عمل طبقهبندی تاریخی را در هنر معاصر ناممکن میسازد، و همچنین اهمیت روزافزون نمادسازیهای شخصی هنرمندان و اختلاط با نمادهای از پیش شناختهشدۀ جمعی در یک فرهنگِ بهخصوص یا در فرهنگ جهانی، مسئلۀ اساسی تغییر پارادایم ها در نمادپردازی شخصی در هنرمعاصرحائز اهمیت ویژه میشود.
این مقاله سعی دارد به پرسش های پژوهشی: ۱ چگونگی تغییر پارادایم ها در نمادپردازی شخصی در هنر معاصر؟ و ۲ چگونگی رابطه نماد سازی شخصی با مفاهیم عیانی و بیانیِ مطروحه در فلسفه تحلیلی؟ پاسخ داده و به مفاهیم عیانی و بیانی در روند نمادسازی شخصی در هنر معاصر، بپردازد؛ بر این اساس، تمامی اعمال انسانی از جمله خلق آثار هنری، برگرفته از یکی از این مفاهیم هستند و به منظور تشخیص آن باید که دلیل یا محرک هر عمل انسانی را در نظر گرفته و چنانچه محرک فرد بر اساس ارادۀ شخصی وی در هدف ایجاد ارتباط با مخاطب باشد پس این عمل از دسته مفاهیم بیانی است و نه عیانی که فاقد چنین محرکی است. لازم به ذکر است که در این نوشتار تنها خود اثر هنری همچون یک واحد کل در نظر گرفته می شود که در آن خوانش توأمان جزء به کل و کل به جزء اثر هنری مدنظر است.
در این مقاله با استفاده از روش تحقیق تحلیلی و روش جمع آوری داده ها به صورت کتابخانهای، چنین نتیجه گیری شده است که با تغییر پارادایم ها در هنر معاصرآنچه اثر انسانی را به یک اثر هنری تبدیل میکند، همان بحثها و تبادل گفتمانی است که در دنیای پذیرفتهشده در فرهنگ هر کشور، و یا فرهنگ جهانی به عنوان دنیای هنر صورت میپذیرد، بدون آنکه به برقراری توافق میان همه اعضائ دنیای هنر برای پذیرش اثر به عنوان اثر هنری نیاز باشد.
واژگان کلیدی: نمادپردازی،پارادایم،نمادسازی شخصی،نمادسازی جمعی،رمزهای قراردادی،مفاهیم عیانی و بیانی
In search of the figure of contemporary protest artist, in the context of Globalization : the particular case of Iranian artists
« Les philosophes analytiques de l'art et les artistes conceptuels ont en commun de refuser l... more « Les philosophes analytiques de l'art et les artistes conceptuels ont en commun de refuser la théorisation et la recherche du beau comme idée ou norme, pour poser à la place une définition de l'art comme fonction symbolique toujours à décrypter à partir d'elle-même et de son langage propre, sans lui appliquer une essence a priori » explique Dominique Chateau (esthéticien français, né en 1948). En d’autres termes, il s’agit de l'esthétique issue de l'empirisme logique et du pragmatisme. La référence à une partie de l'introduction du premier numéro de la Revue francophone d'esthétique, sous la direction de Frédéric Wecker, écrite par Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, permet de clarifier l'objectif de cette théorie esthétique ; « […] Les problèmes esthétiques se seraient-ils dissous dans la médiatisation généralisée ? Sont-ils condamnés à nourrir un essayisme brillant mais sans portée théorique ? Doit-on laisser la parole aux historiens, aux spécialistes des sciences humaines ou aux professionnels du monde de l'art ? Telle n'est pas notre conviction. Nous voulons faire le pari d'une approche esthétique ouverte sur toutes les manifestations de l'art et qui revendique un parti pris d'analyse conceptuelle et d'argumentation critique. Il ne suffit en effet ni d'en appeler à une dimension anthropologique fondamentale, ni de s'en tenir à la menue monnaie de l'actualité et des événements. Comme toute discipline de quelque ambition, l'esthétique doit être en mesure de construire ses propres objets et de réviser ses résultats et ses procédures : là est sa seule garantie d'échapper au délire d'interprétation » En ce qui concerne cette réflexion, l'esthétique analytique est un dialogue constant avec les œuvres d'art d'avant-garde de l'art moderne et contemporain, notamment celles de Duchamp et de Warhol, mettant l’accent sur un ensemble de théories esthétiques quelquefois hétérogènes ; loin des théories traditionnelles, toutes ces théories refusent le beau en tant que principe essentiel de ce qui est devenu connu de l'art, c'est-à-dire l'œuvre d'art. [...]"The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...
Calle 14: Revista de Investigación en el Campo del Arte, Jul 30, 2021
obra que no pudo convencer al mundo del arte, en su estreno, de ser aceptada como obra de arte. N... more obra que no pudo convencer al mundo del arte, en su estreno, de ser aceptada como obra de arte. Nos esforzamos por responder a dos preguntas: en la era contemporánea, ¿qué criterios estéticos convierten una obra hecha por el hombre en una obra de arte? Y a partir de la teoría de la "ontología aplicada" de Pouivete, ¿cómo se considera una obra de arte contemporánea como símbolo personal del artista y cómo se perciben las características estéticas de la obra? Una obra de arte en cualquier estilo, forma y contenido, incluye símbolos contextuales y formales. En la era contemporánea, esto se convierte en una mezcla de símbolos personales y símbolos colectivos, ya conocidos, de una cultura, que juntos juegan un papel definitorio en la creación de la obra de arte. Es decir, una obra será reconocida como obra de arte cuando sea objeto de discusiones entre expertos en arte, incluso sin necesidad de llegar a un consenso.
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در این پژوهش، پرسش اصلی ارزیابی نقش مخاطب در روند دریافت اثر معاصر است، چه این اثر ادبی باشد، چه هنری. این ارزیابی از دید نظریه فلسفی »چشم بی گناه» صورت می گیرد. نظریه ای که توسط جان راسکین بنیان گذاری شد و توسط کلمانت گرینبرگ توسعه یافت. از این دیدگاه پرسش اینکه امروزه چه کسی به عنوان مخاطب در معنای عام آن در نظر گرفته می شود، و ویژگی های اصلی این مخاطب کدام است؟ مهم می شود. در روند پیشرفت پژوهش، ایده اصلی نظریه «چشم بی گناه» از منظر فلسفه تحلیلی توسط آرتور دانتو، پس از بررسی دقیق به چالش کشیده می شود. او معتقد است که عدم در نظر گرفتن عادات درونی مخاطب در لحظه دریافت تصویر، حتی زمانی که مربوط به یک شیئ واقعی می شود، غیر ممکن است. دریافت اشیائ یا تصاویر نزد هر شخصی متفاوت است و این تفاوت، به دلیل فاکتورهایی همچون جنسیت، نژاد، سن، موقعیت جغرافیایی افراد و غیره است. دانتو در مورد نظریه راسکین و گرینبرگ تأکید می کند که می توان به صورت کامل این نظریه را رد کرد و چنین چیزی امکان پذیر نیست. بلکه کاملا مشخص است که امروزه هر چیزی می تواند قابلیت این را داشته باشد که اثر هنری تلقی شود.
کلیدواژه‌ها
نظریه «چشم بی گناه» دریافت مخاطب اثر ادبی اثر هنری هنر معاصر
John Ruskin and later developed by Clement Greenberg—explains the
ways spectators perceive literature and contemporary art. To frame this
inquiry, it is essential to first define the concept of the "spectator" and
identify its key characteristics. As our research has progressed, it has
become evident that the "Innocent Eye" theory has been subject to
significant philosophical critique, most notably by Arthur Danto, who
challenged its foundational presuppositions. Our findings emphasize
that spectators’ perception is never entirely neutral or "innocent," as
stated by the theory. It is always prone to bias, as individual responses to
images and objects are inevitably influenced by factors such as gender,
ethnicity, age, and geographical background. The study offers a
convincing rejection of the 'Innocent Eye' theory, demonstrating that
perception is inherently subjective. Within the context of contemporary
aesthetics, virtually any object or image can be interpreted as an artwork,
depending on the spectator's internalized perspectives and experiences.
واژگان کلیدی: ارسی، شهر سنندج، معماری اسلامی، هنرهای سنتی ایرانی، دوره ی صفوی، دوره ی زند و قاجار
Cet article présent, nous ne projetons en aucune façon d'établir ou
de définir ce qu'est l'art, dont l'œuvre d'art en ontologie. Ce n'est
pas notre préoccupation aujourd'hui, et non plus davantage de la
plupart des artistes contemporains. À la recherche d'une ontologie
bien particulière sur l’œuvre d’art contemporain, Roger Pouivet,
le philosophe contemporain français, l'appelle « l'ontologie
appliquée ». Il s’agit de considérer l'œuvre en tant que telle, sans
se préoccuper des catégories fondamentales qui la possèdent. À ce
stade, il paraît nécessaire de parler du changement de paradigme
dans le champ d’arts plastiques, qui résulte de l'apparition des
œuvres des textes écrits ou oraux.
En ce qui concerne le concept de « Zugganzes » de ’Heidegger,
il faut bien comprendre, quoi qu'il en soit, le cumul des éléments
nécessaires jusqu’à ce que l’établissement d’un système s’achève.
Cela veut dire que pour un processus de créer une œuvre d'art
contemporain il explique qu’à la fois chaque élément a son rôle
clé, même indispensable, et une mission pour compléter le rôle
des autres éléments.
commitment discourse theory in the literature of the 60s and 70s? and What is the main difference between the Utterance and Discourse
systems in visual arts? The generating institutions of this type of Utterance system necessitate the referential function for visual texts as
the main component in the formation of such texts. According to these institutions, production of artwork as classical and ornamented
texts convey only one meaning, unlike the phenomenal texts with multiple meanings, next to illustrating how some outstanding and
common semantic signs lead to the formation of this type of Utterance system in the Iranian art.
Czech and Slovak artists are skilled and creative designers and painters who have a personal approach and attitude, which distinguishes each of their work from others. Definitely, seeing these works, analyzing and investigating the reasons for this superiority and distinctiveness is useful and effective for every illustrator. Knowing and using each of these features can be a factor in creating a successful work of illustration.
The purpose of examining the works of these illustrators is to answer the following research questions: What are the expression methods and performance techniques in displaying personal ideas and feelings that the four best illustrators of this country, which is currently divided into two parts, the Czech Republic and Slovakia, benefited? What are the difference and similar characteristics between the choice of technique and story concepts in their works? What features have made the works of Czechoslovak artists successful and prominent? How have they used various technical methods to portray their personal thoughts?
This fundamental type of research, is descriptive-analytical and the method of collecting information is library type. It is worth mentioning that the examination and analysis of visual works is important in order to perpetuate the image in the mind. According to the subject of the research; looking at the illustration techniques of Czechoslovak illustrators, we find out that the secret of each work's permanence is within itself. In this way, copying and imitating the works of other artists will not achieve their goal of publishing a pure work. Of course, by observing all the principles that must be observed in an illustration work, which includes: correct composition, design from the good point of view, choosing the right colors and the most important point is their creativity.
In this research, all the reviewed works have been composed of all these factors and by keeping all these principles, they have tried to communicate with the audience by expressing their feelings, and most of the works have come to a conclusion after several years of working on it. After the studies and investigations ; based on the visual elements and the type of technique and the physical structure of each work has been accepted, regarding the illustrating techniques and according to his frameworks of attracting the audience, and following their special visual elements and characteristics.
In the process of this research, we find out that the examination of the work characteristics of each of these artists depends on the collective past of the people of his land, and his mentality of his hometown, which have become internal and external personal and social stimuli, no illustrator can be separated from his culture and customs. The artist's hometown offers original works and, they actually expresses their culture with visual language. Each illustrator has their own special style and technique, despite being skilled in their work, which distinguishes them from others and gives them individual originality in illustration. Gaining a strong hand in design through practice, even the illustrators who work very freely and full of mysteries and symbolist forms. If these artists were not sensitive to children world and their perception of life, art, culture and future, they could not depict the childish and pure world as eloquently as possible. Most of them are the authors of books for children and teenagers, or they have special expertise for children in some fields other than illustrating childrens' books.
By examining the biography, collection of works and characteristics of each artist's work and sometimes speeches or articles by them and other experts, we found a set of specific aspects in the work of each artist and by summarizing all these contents, we realize some basic points which are:
Having their own visual language that is different from the visual language of other contemporary artists ; having a unique style and method that is not imitation and it comes from the mind and feelings of the illustrator. Every illustrator has their own technical style, which distinguishes them from others and gives them individual originality.
The step-by-step cooperation of the illustrator with the author of the story ; sometimes, some illustrators work with the author in a step-by-step way, illustrating and writing, during the period when the book is being written and illustrated, the author and the illustrator are constantly working with each other. Each of them, if not to say that they interfere in the others' work, have a significant impact on each other's work.
Having a strong design power; all these illustrators have started with drawing and painting and having a lot of training and practice, in order to reach more mature works and a strong hand in drawing. Even those who work very freely and full of mystery and symbolism, also show a strong design in their works.
Most of these illustrators have a poetic sense in their works, and this is that distinguishes their works from others and makes them worthy of contemplation, full of creativity and pleasant for children.
Most of these artists are very committed to children and their issues from the artistic and psychological aspects. If these artists were not so sensitive about the children and their perception of life, art, culture and the future, they could not work deeply and sympathetically. It must be told that most of them, are authors of children's books, or have special expertise of children in some fields other than Illustration is also for them.
In summary, drawing for children is a very sensitive, responsible and difficult task. Those who work for children, in addition to having strong technical expertise and a lot of creativity in their work, must always consider the conditions of their audience, including their age; how do they deal with issues; in what way do they think and to what extent is their freedom in this direction; how do they harmonize their language with the children's' language and understanding; how to give wings to the kids' understanding and imagination center to attract them to think and create more. Because, the future belongs to the children.
This paper tries to answer research questions: 1. How do paradigms change in personal symbolism in contemporary art? And 2 How does personal symbolism relate to the obvious and expressive concepts proposed in analytic philosophy? Respond and address the obvious and expressive concepts in the process of personal symbolism in contemporary art; Accordingly, all human actions, including the creation of artworks, are derived from one of these concepts, and in order to identify it, the cause or stimulus of any human action must be considered and if the stimulus is based on his personal will to achieve communication with the audience, so this action is a category of expressive concepts, and not an Objective one that lacks such a stimulus. It should be noted that in this article, only the artwork, itself is considered as a whole unit, in which the simultaneous reading of the part to the whole, and the whole to the part of the work of art is considered.
In this, using analytical research method and library data collection method, it has been concluded that by changing the paradigms in contemporary art, what turns a human work into an artwork is the same discussions and discourse exchange that in the accepted world takes place in the culture of any country, or the world culture as the world of art, without the need for agreement between all members of the art world to accept the work as a work of art.
This paper studied the paintings of Sani ol-Molk, a Qajar Iranian artist, as well as those of Chagall, a Russian-Jewish artist, and it aims to answer the question of what elements and techniques were employed by the artists to illustrate One Thousand and One Nights stories in such a way that the form appropriately serves the content. The two painters, Sani ol-Molk and Chagall, with distinct viewpoints, influenced by Eastern and Western socio-cultural discrepancies, respectively, created paintings for the stories using their own artistic styles. This paper compared pairs of Sani ol-Molk and Chagall’s illustrations that have the same theme but are completely different both structurally and aesthetically. It also analyzed the works in terms of form, composition, color, visual elements, and symbols. The pairs are divided into three categories in terms of their subject, including romances, imaginaries, and everyday life. Despite the considerable differences between the works of the two painters, both Sani ol-Molk (by combining naturalistic techniques and Qajar painting styles) and Chagall (by freely using Western visual culture, colors, and forms and mixing them with Iranian, Indian, and Arabic elements as well as with oriental lighting) illustrated One Thousand and One Nights successfully and achieved to create a fantasy.
این مقاله سعی دارد به پرسش های پژوهشی: ۱ چگونگی تغییر پارادایم ها در نمادپردازی شخصی در هنر معاصر؟ و ۲ چگونگی رابطه نماد سازی شخصی با مفاهیم عیانی و بیانیِ مطروحه در فلسفه تحلیلی؟ پاسخ داده و به مفاهیم عیانی و بیانی در روند نمادسازی شخصی در هنر معاصر، بپردازد؛ بر این اساس، تمامی اعمال انسانی از جمله خلق آثار هنری، برگرفته از یکی از این مفاهیم هستند و به منظور تشخیص آن باید که دلیل یا محرک هر عمل انسانی را در نظر گرفته و چنانچه محرک فرد بر اساس ارادۀ شخصی وی در هدف ایجاد ارتباط با مخاطب باشد پس این عمل از دسته مفاهیم بیانی است و نه عیانی که فاقد چنین محرکی است. لازم به ذکر است که در این نوشتار تنها خود اثر هنری همچون یک واحد کل در نظر گرفته می شود که در آن خوانش توأمان جزء به کل و کل به جزء اثر هنری مدنظر است.
در این مقاله با استفاده از روش تحقیق تحلیلی و روش جمع آوری داده ها به صورت کتابخانهای، چنین نتیجه گیری شده است که با تغییر پارادایم ها در هنر معاصرآنچه اثر انسانی را به یک اثر هنری تبدیل میکند، همان بحثها و تبادل گفتمانی است که در دنیای پذیرفتهشده در فرهنگ هر کشور، و یا فرهنگ جهانی به عنوان دنیای هنر صورت میپذیرد، بدون آنکه به برقراری توافق میان همه اعضائ دنیای هنر برای پذیرش اثر به عنوان اثر هنری نیاز باشد.
واژگان کلیدی: نمادپردازی،پارادایم،نمادسازی شخصی،نمادسازی جمعی،رمزهای قراردادی،مفاهیم عیانی و بیانی