مطالعۀ ساختار تخیل در نقاشی های علی اکبر صادقی از دیدگاه ژیلبر دوران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تخیل فرآیندی است ذهنی متأثر از ویژگی های شخصی انسان و اطلاعات دریافتی پیرامون او؛ محصول آن تشکیل تصاویر در ذهن است که با خلق آثار ادبی و هنری به ظهور می رسد. برای مطالعه تخیل، حوزه های مختلفی وجود دارد؛ از میان آن ها، روش ساختاری ژیلبر دوران که روشی علمی و بر مبنای ساختار انسان شناسیِ قوه تخیل است انتخاب گردید. روش ژیلبر دوران مبتنی بر بازیابی قطب های تخیلی و پیدا کردن رابطه آن ها است. مبنای ارزش گذاری او ترس از مرگ، گذر زمان و واکنش انسان در برابر آن است. این مقاله در نظر دارد به نقاشی های علی اکبر صادقی بپردازد و به این پرسش پاسخ دهد که چگونه می توان جدال بین مرگ و جاودانگی در آثار وی را در ساختار تخیل ژیلبر دوران مورد خوانش قرار داد؟ دوران تخیلات را به دو منظومه روزانه و شبانه تقسیم بندی می کند. منظومه روزانه ساختاری قهرمانی دارد با چهار زیرساختار، منظومه شبانه که واکنشی جبرانی است، دو ساختار دارد که هریک دارای چهار زیرساختار هستند. با توجه به هدف شناخت ساختار تخیل دوران در آثار صادقی به تحلیل سه اثر از مجموعه نقاشی افسانه و ریاضی پرداخته شده؛ واکنش های قهرمانی و جبرانی در مقابل مرگ و ترس ناشی از آن مورد مطالعه قرار گرفته است. این پژوهش به صورت توصیفی-تحلیلی و مبتنی بر روش تحقیق کیفی است. یافته های تحقیق، نشان می دهدکه نقاشی های صادقی در هردو منظومه روزانه و شبانه تخیل قرار می گیرند؛ و از بین این دو، گرایش آن ها به منظومه شبانه تخیل بیشتر است. از بین هشت ساختار شبانه دو ساختار درک چرخه ای از تاریخ بشریت و پیشرفت در آینده که زیرمجموعه ساختار ترکیبی هستند حضور بیشتری دارند.The Study of the Structure of Imagination in Ali Akbar Sadeghi's Paintings from the Perspective of Gilbert Durand
Imagination is a subjective process affected by the personal characteristics of a person and the information received from around him. Its product is the formation of images in the mind, which manifests through the creation of literary and artistic works. Generally, Eastern philosophers have a mystical and sublime view of imagination to the extent that they deem it as one of the pillars of knowledge. On the other hand, Western thinkers consider imagination as the ability to represent objects objectively or illusively.Among them, Gilbert Durand's structural method, which is a scientific method based on the anthropological structure of the power of imagination, was chosen. He is influenced by Henry Corbin and his teacher Gaston Bachelard. Their intellectual origin is rooted in Shiite wisdom and mysticism and the thought of people like Ibn Sina (Avicenna), Sohrevardi, and Ibn Arabi. Durand was also influenced by Carl Gustav Jung whose studies were based on psychology. Gilbert Durand's method is on the basis of retrieving imaginary poles and finding their relationship. The foundation of his valuation is the fear of death, the passage of time, and the human reaction to it.This study is going to examine the paintings of Ali Akbar and to answer the question of how the struggle between death and immortality in his works can be interpreted within the framework of Gilbert Durand's imagination. Sadeghi is passionate about Eastern mysticism and people like Rumi, Aref Qazvini, Sohrab Sepehri, and Ferdowsi. He is also influenced by religious stories, coffeehouse paintings, and Persian miniatures.From his point of view, the world can be recreated in imagination, and the beyond reality can be painted in a mysterious space. There exist symbols, codes, and parables in this world. He transforms the surrounding realities into an imaginary space, and in this imaginary space, there is a confrontation between the Ahurai force and the demonic raid, and although evil prevails, hope is not lost, even if it is as small as an apple. From Sadeghi's perspective, man was not born to fight but to live; he fights from childhood to death, even with death itself. By creating a suspenseful imaginative space, he depicts the terrifying condition of humanity and employs conflicting symbols to alleviate and soften the feelings of fear and terror.Accordingly, this paper intends to address the paintings of Ali Akbar Sadeghi and answer these questions: How can the conflict between death and immortality in his works be explained within the framework of Gilbert Durand's imagination? And how can the elements used in Ali Akbar Sadeghi's paintings be classified based on it? In order to deal with disabilities, insecurities, fears, and finally death, the human mind makes a compensatory reaction in the form of imagination to create hope to adapt itself and reduce its anxiety.Gilbert Durand divides this imagination into two regimes, diurnal and nocturnal. The diurnal regime is a regime of contradictions, and it is to achieve excellence, ascension, light, deathlessness, immortality, and reaching superhuman conditions. This regime has two negative and positive valuations and has a heroic structure. The nocturnal regime is not contradictory, heroic, and superhuman like the diurnal regime. The nocturnal Regimes have the negative valuation forms of the diurnal Regimes but in a milder and more delicate way. In the nocturnal regime, the fear of death lessens but does not disappear. The nocturnal regime, which is a compensatory reaction, has two structures: mystical or antiphrastic and synthetic or dramatic. Each of these two structures also has four substructures.This structural model can be used to analyze works of art. With the aim of understanding the structure of Durand's imagination in Sadeghi's works, this study has examined the three works of his Myth and Math painting collection. In this regard, it has shed light on the heroic and compensatory reactionary themes against death and fear at the time of defeat. This collection was created between 1977 and 2010 and has a surrealist dimension. The techniques and colors used are like those of Salvador Dali and Rene Magritte. But Sadeghi's approach is an Iranian one coming from his philosophical point of view. He used Iranian painting styles such as Persian miniatures and coffeehouse paintings, and a soldier is one of the main characters in most of his works.This study is qualitative research that has been carried out in a descriptive-analytical way. The research findings show that Sadeghi's paintings are created in both diurnal and nocturnal regimes, and between these two, their tendency is more towards the nocturnal regimes of imagination. Out of the eight nocturnal structures, two structures of cyclical understanding of the history of mankind and future development, which are a subset of the synthetic structure, are more present.
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