مطالعۀ ساختار تخیل در نقاشی های دارای مضمون شهادت بر مبنای نقد تخیل ژیلبر دوران؛ مطالعه موردی: نقاشی کاظم چلیپا در زمان جنگ ایران و عراق (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
منشأ خلق اثر ادبی و هنری تخیل است. در باب شناخت تخیل حوزه های مختلفی وجود دارد که توسط متفکران شرق و غرب ارائه شده اند. در این تحقیق روش علمی ژیلبر دوران که بر مبنای ساختار انسان شناسی قوه تخیل و واکنش های ذهن در برابر مرگ و گذر زمان است انتخاب گردید. دوران تحت تأثیر فلسفه و عرفان شرق، حکمت ایرانی و معارف شیعی، جایگاه والاتری برای تخیل نسبت دیدگاه غرب (که آن را معادل وهم می داند) قائل است. بینش شرقی ایرانیان نیز ریشه در عرفان و حکمت دارد و منشأ باورهایشان در باب اعتقاد به معاد، زندگی پس از مرگ، شهادت و کشته شدن در راه میهن است. با توجه به اینکه تخیل فرایند تشکیل تصاویر در ذهن است که از کنش اطلاعات دریافتی ازمحیط بیرون با خصوصیات شخصیتی و باورهای درونی فرد نمود خارجی پیدا می کند مانند تولید اثر هنری؛ این مقاله در نظر دارد نحوه برخورد هنرمند نقاش معاصر ایرانی با توجه به حضور وی در طی هشت سال جنگ ایران و عراق و دریافت های خارجی از محیط بیرون (چون اشغال خاک، بمباران، آوارگی و ایستادگی جوانان تا پای جان و کشته شدنشان) و کنش آنها با ذخایر داخلی ذهن (اعتقادات و باورهای دینی) که حاصلش تولد اثر هنری است را، با توجه به دیدگاه تخیل «ژیلبر دوران» مورد واکاوی قرار داده و به این پرسش پاسخ دهد که چگونه می توان جدال تخیل هنرمند میان مرگ و جاودانگی را در نقاشی دارای مضمون شهادت مورد خوانش قرار داد و واکنش های قهرمانی و جبرانی تخیل او را تحلیل کرد؟ کاظم چلیپا به عنوان نماینده از این نسل؛ و نقاشی ایثار او (با توجه به داشتن وجوه اشتراک بسیاری با آثار دگر هنرمندان این دوره) به عنوان نمونه انتخاب گردید. از آنجایی که هدف این تحقیق شناخت ساختار طبقه بندی شده تخیل در اثر چلیپا بر اساس واکنش او نسبت به مرگ است؛ ابتدا به شرح ساختار تخیل دوران و سپس به عناصر تصویری استفاده شده توسط وی در قالب دو منظومه روزانه و شبانه پرداخته می شود. این پژوهش از نوع کیفی و به روش توصیفی تحلیلی است. یافته های تحقیق مبین آن است که نقاشی ایثار دوازده زیر ساختار دو منظومه روزانه و شبانه تخیل را دارد. گرایش نقاش به ساختار شبانه تخیل بسیار بیشتر از روزانه است. از بین زیرسا خت های منظومه شبانه، ساختارهای درک چرخه ای از تاریخ بشریت و پیشرفت در آینده (که زیر مجموعه ساختار ترکیبی یا دراماتیک هستند) حضور برجسته تری دارند.The Study of Imagination Structures in Paintings with Martyrdom Themes Based on Gilbert Durand’s Critique of Imagination (Case Study: Kazem Chalipa’s Paintings During the Iran-Iraq War)
The origin of creating literary and artistic work is imagination. In the matter of understanding imagination, there are different fields that have been presented by thinkers from the East and West. Among them, Gilbert Durand’s scientific method, which is based on the anthropological structure of the power of imagination and the mind’s reactions to death and the passage of time, was chosen. Gilbert Durand, influenced by Eastern philosophy and mysticism, Iranian wisdom, and Shi’ite teachings, considers a higher position for imagination compared to the Western viewpoint (which sees imagination as a real or illusory representation of objects).
The Eastern Iranian perspective also has roots in mysticism and wisdom, and the origin of their beliefs lies in the belief in the afterlife, life after death, martyrdom, and being killed in the way of the homeland. One of the human mind’s concerns is the fear of death and the desire for immortality. This has been addressed by various religions, including monotheistic religions, throughout history. According to Islam, a person begins a new life after death. Islam recognizes martyrdom as the best type of death, a conscious death in which the person sacrifices his life for a sacred goal and gets rewarded by the enjoyment of mercy and blessings in the presence of God.
The Eastern viewpoint has caused Iranian painters’ approach to the subject of war and martyrdom to be different from the approach of Western artists who have faced world wars. Considering that war brings violence, destruction, insecurity, and death, European painters have depicted these unpleasant scenes. While the Iranian artist’s approach to this subject shows the event’s connection to the supernatural and the promise of a higher realm for those killed in war. Imagination in the production of an artistic work is the formation of images in the mind that manifest externally through the interaction of information received from the external environment with the individual’s personality traits and inner beliefs. Like the production of a art work.
This article aims to examine the production of artistic work by a contemporary Iranian painter, which is the result of his experience during the eight years of the Iran-Iraq War and his external perceptions of the environment, such as occupation, bombing, displacement, and the steadfastness of young people to the point of death and ultimately their killing, as well as his internal mental reserves that encompass his religious beliefs and convictions, such as martyrdom, based on the perspective of Gilbert Durand’s imagination (reactions to death). It also seeks to answer the question of how to interpret the artist’s struggle between death and immortality in a painting with a martyrdom theme and analyze the heroic and compensatory reactions of their imagination?
This research is descriptive-analytical and based on a qualitative research method. For the interpretation of imagination in works with themes of martyrdom and death in war, a case study of the works of Kazem Chalipa, an artist from the Iran-Iraq War era in the 1980s, was selected. One example of Kazem Chalipa’s paintings from the artists of that era was considered. The reason for this selection is the presence of common visual elements seen in most of their works, which have a more prominent presence in the painting “Isaar (sacrifice).” The theoretical framework of this research is based on images resulting from human imagination, classified into two Diurnal (daily) and Nocturnal (nightly) Regimes of Imagination, based on human reactions to death and the fear of it. The textual data is collected through documentary and library methods.
In addition to being influenced by Henri Corbin and his teacher Gaston Bachelard (whose views are rooted in the ideas of Avicenna, Sohrewardi, Mulla Sadra, and Ibn Arabi), Gilbert Durand is also influenced by Jung’s ideas. In his view, the passage of time and death play an important role in imagination. The feeling of hopelessness, anxiety, and fear resulting from it, and in contrast, the reaction of imagination to rebel against death or to control it to achieve immortality, is the basis for categorization. He has divided imagination into two Diurnal and Nocturnal Regimes.
The Diurnal Regimes have two negative and positive valuations. It is a contradictory regime for achieving transcendence, ascent, light, immortality, and reaching superhuman conditions. This regime has a heroic structure. While the Nocturnal Regimes have a compensatory reaction, and unlike the Diurnal Regimes, it is not contradictory, heroic, or superhuman. Here, the fear of death is lessened but not eliminated. The Nocturnal Regimes have the negative valuation forms of the Diurnal Regimes but in a milder way. The Schizomorphic or Heroic structure of the Diurnal Regimes includes four substructures called: 1. idealization and autistic withdrawal 2. separation 3. exaggerated geometry, symmetrry, Exaggeration of space and objects 4. polemical antithesis. And the Nocturnal Regimes have two structures: Mystical (antiphrastic) and Synthetic (dramatic). Each of which has four substructures. The mystical structure includes four substructures including: 1. perseveration, 2. adhesive viscosity, 3. sensorial realism and 4. miniaturization. The synthetic as well has four substructures including: 1. coincidentia oppositorum, 2. dialectic of antagonists, 3. historicizing, 4. partial (cycle) or total progressivism.
Since this research aims to understand the classified structure of imagination in Kazem Chalipa’s work based on his reaction to the subject of death and martyrdom, first, the structure of Gilbert Durand’s imagination is described, and then the visual elements used by Chalipa are discussed within the framework of the two Diurnal and Nocturnal Regimes of Imagination. Kazem Chalipa is a painter and university professor who lived during the war and has paintings related to this subject. He also was influenced by the coffee-house paintings of his father, Hassan Esmailzadeh, and most of the themes of his works are religious, epic, and about faith. His painting “Isaar (sacrifice)” was painted in 1981, exactly during the war. The findings confirm that the pillars of imagination, inner desires, and beliefs such as values, religious beliefs, attitudes towards death, the higher realm, and martyrdom are linked with external data such as coffee-house paintings, miniatures, Tazieh ceremonies. This integration is necessary for the formation of mental images that are consciously and unconsciously manifested in Kazem Chalipa’s works, and the painting “Isaar (sacrifice)” is the manifestation of this type of imagination.
The analysis of the visual elements of “Isaar (sacrifice)” using the structure of Durand’s system of imagination indicates that the work includes the four substructures of the Heroic Diurnal Regimes. Regarding the Nocturnal Regimes (mitigating the fear of death), it also contains all four substructures of the two mystical and synthetic structures. Although the fetus placement in the heart of the flower is an example of the miniaturization structure, it does not belong to this structure due to the large size of the flower compared to the whole work. Reference to the concept of the savior in the images of Imam Hussein, the birth, the coming of a son, and the man heading to the battlefield, and the use of images of martyrdom, rebirth, the resurrection of bodies, and a higher world indicated by a hand, all convey the message that death exists but it is not the end of the road, and a new beginning follows it. This alleviation exemplifies the structure of the Nocturnal Regimes of Gilbert Durand’s Imagination. The painter’s tendency towards the structure of the Nocturnal Regimes of Imagination is much greater than the structure of the Diurnal Regimes. From the substructures of the synthetic or dramatic structure, the structures of “historicizing” and “partial (cycle) or total progressivism “ have a more prominent presence than other Nocturnal Regimes structures. The findings of this analysis can be generalized to other works of Kazem Chalipa’s contemporary artists during the Iran-Iraq War.
تبلیغات
