بررسی تطبیقی نقوش و هنرهای قومی باآثاربرگرفته شده از نقش پرنده درساخته های پرویز تناولی
آرشیو
چکیده
بیان مسئله در دهه های اخیر، بازگشت به ریشه های قومی و فرهنگی به عنوان واکنشی به جهانی شدن و اضمحلال فرهنگی جوامع، به موضوعی محوری در هنر معاصر تبدیل شده است. در ایران نیز، توجه به هنر قومی با هدف بازیابی هویت فرهنگی و هنری موردتوجه بسیاری از هنرمندان قرارگرفته است. پرویز تناولی یکی از برجسته ترین هنرمندانی است که با نگاهی نو به مفاهیم بومی و قومی، دست به بازآفرینی آن ها در قالب های نوین زده است. بخشی از آثار او به الهام از نقش پرنده در هنر اقوام ایرانی اختصاص دارد که بررسی آن می تواند به شناخت بهتر پیوند میان هنر معاصر و ریشه های قومی بیانجامد. هدف پژوهش این پژوهش با هدف تحلیل نحوه بهره گیری پرویز تناولی از نقوش پرنده در هنر قومی ایران و بازآفرینی آن در آثارش انجام شده است. هدف نهایی، روشن ساختن چگونگی بازتاب عناصر هویتی در آثار تناولی از منظر پیوند با هنر اقوام ایرانی است. سؤال پژوهش تناولی به چه شکل از هنر قومی ایران، به ویژه نقش مایه پرنده، در آثار خود بهره برده است و چگونه این عناصر را به زبان هنر معاصر ترجمه کرده است؟ روش پژوهش روش این پژوهش توصیفی تحلیلی و مبتنی بر مطالعات کتابخانه ای است. ابتدا منابع نظری مرتبط با هنر قومی و آثار پرویز تناولی گردآوری شده و سپس چند نمونه از آثار تناولی که نقش پرنده در آن ها برجسته است، انتخاب و تحلیل تطبیقی آن ها با نقوش پرنده در هنر اقوام ایرانی صورت گرفته است. نتیجه گیری پژوهش حاضر نشان می دهد که پرویز تناولی، با شناخت عمیق از ریشه های فرهنگی و هنری ایران، به ویژه در زمینه هنر اقوام، توانسته است عناصر نمادین مانند پرنده را از بافت بومی جدا کرده و در قالب زبانی نوین و جهانی بازآفرینی کند. آثار او در عین دارا بودن بار هویتی و فرهنگی، توانسته اند مخاطب جهانی را نیز تحت تأثیر قرار دهند. این تلفیق موفق، نقش مهمی در حفظ و احیای هنر قومی در عرصه هنر معاصر ایفا می کند.A comparative study of ethnic motifs and arts with works taken from the role of birds in Parviz Tanavoli's works
of Parviz Tanavoli
Problem Statement
We live in an era characterized by the acceleration of globalization and the cultural homogenization of nations. This process, reinforced by the dominance of global media, digital communication, and the free flow of information, has led to the overshadowing of many national and cultural identities by a dominant global culture. As a result, the boundaries of cultural and national identities are becoming increasingly blurred, and contemporary artworks are also affected by this phenomenon. In some cases, it has become difficult to distinguish the national origins of artists based on the content or form of their works. Although this trend has facilitated cultural interactions and exchanges, it has also contributed to the neglect or even loss of indigenous traditions and roots.
In response to this situation, many artists—especially those from countries with ancient civilizations—have turned to reviving their cultural identities. By revisiting authentic ethnic, mythological, and traditional elements, they seek to preserve their heritage while reinterpreting it through a contemporary lens. In Iran, this approach has been increasingly adopted by artists in recent decades. Utilizing the rich heritage of Iran's traditional and ethnic arts, particularly its decorative and symbolic motifs, these artists strive to create contemporary artworks imbued with an Iranian identity.
One of the notable artistic movements in this regard is the Saqqakhaneh School, which emerged in the 1960s. The artists of this school sought to create a modern Iranian art form by incorporating visual and cultural elements from folk and religious art. Their use of inscriptions, religious motifs, popular forms, and familiar imagery from the Iranian visual tradition marked a turning point in the development of modern Iranian art.
Among the artists who followed this path, Parviz Tanavoli occupies a unique and distinguished place. Through his lived experience, meticulous research, and deep knowledge of traditional Iranian arts, Tanavoli has created artworks that are both visually innovative and culturally rooted. Particularly in the field of sculpture, he has succeeded in reimagining and reinterpreting traditional and ethnic motifs in a manner that preserves their cultural essence while presenting them in a contemporary visual language.
One of the recurring elements in Tanavoli’s work is the motif of the bird. In Iranian culture, birds are not merely decorative elements but symbols carrying rich layers of meaning—representing freedom, transcendence, messengers of the divine, and connections to the spiritual realm. These motifs have been widely used in Persian carpets, kilims, pottery, and other traditional decorative arts. Tanavoli, with his profound understanding of this heritage, has incorporated the bird motif into his work in a way that continues and revitalizes this long-standing tradition within a modern artistic context.
Research Objective
This study aims to analyze how Parviz Tanavoli has utilized the bird motif in the context of Iranian ethnic art and reimagined it in his artistic creations. The primary objective is to clarify how identity-related elements, derived from the visual culture of Iranian ethnic groups, are reflected in Tanavoli’s contemporary artworks.
Research Question
How has Tanavoli employed the visual and symbolic resources of Iranian ethnic art—especially the bird motif—in his work, and in what ways has he translated these traditional elements into the language of contemporary art?
Research Methodology
This research is descriptive-analytical in nature and is based on library studies. First, theoretical sources related to ethnic art, traditional Iranian imagery, and the works of Parviz Tanavoli were collected. Subsequently, several of Tanavoli’s works that prominently feature bird motifs were selected. These artworks were then comparatively analyzed about bird motifs in the visual culture of various Iranian ethnic groups.
The comparative framework includes motifs found in Kurdish and Fars region carpets, Bakhtiari and Lori kilims, as well as ancient Iranian ceramics.
Conclusion
The findings of this study reveal that Parviz Tanavoli has established a profound connection between tradition and modernity through his insightful use of ancient motifs—particularly the bird motif. By examining the symbolic roles of the nightingale (bolbol) and the mythical Simorgh in Iranian culture and by referencing their visual representations in tribal carpets, kilims, and ceramics, Tanavoli recontextualizes these forms in innovative and meaningful ways.
Tanavoli’s works draw direct inspiration from the bird motifs found in the carpets of Kurdistan and Fars provinces, the kilims of the Bakhtiari and Lori tribes, and early Iranian pottery. These traditional motifs, which once adorned everyday objects, are elevated in Tanavoli's art into conceptual forms that bridge historical memory and contemporary expression.
Importantly, Tanavoli’s approach is not a mere replication of ethnic motifs. Rather, his engagement with traditional elements is rooted in a deep appreciation for their cultural and aesthetic value. Through a comprehensive understanding of their visual power and symbolic resonance, he integrates these motifs into a modern artistic discourse. His compositions reflect a fusion of indigenous visual language with the concerns and techniques of contemporary sculpture.
In doing so, Tanavoli offers a vision of Iranian modern art that is simultaneously global in its accessibility and deeply local in its essence. His work exemplifies how traditional art forms, when engaged critically and creatively, can transcend their historical boundaries and contribute meaningfully to the global art scene.
Ultimately, this study underscores the importance of cultural continuity in the creation of contemporary art. Tanavoli’s work serves as a model for how artists can draw upon ethnic heritage not as a constraint, but as a rich source of inspiration—capable of producing works that are both rooted in tradition and resonant in the present.
Keywords: Iranian ethnic art, identity, Parviz Tanavoli, bird motif, traditional symbolism,
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