پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 928 |
| تعداد مقالات | 7,637 |
| تعداد مشاهده مقاله | 12,457,164 |
| تعداد دریافت فایل اصل مقاله | 8,865,237 |
رویکردها و ویژگیهای آثار حجمی معاصر غرب (مورد پژوهی از 1980 تا 2000) | ||
| جلوه هنر | ||
| مقاله 6، دوره 11، شماره 2 - شماره پیاپی 23، شهریور 1398، صفحه 81-92 اصل مقاله (9.16 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2018.20805.1344 | ||
| نویسنده | ||
| سمیه موسویان | ||
| دانشجوی دکتری معماری دانشگاه آزاد اسلامی واحد علوم و تحقیقات تهران، تهران، ایران. | ||
| چکیده | ||
| آنچه امروز در دنیای مجسمهسازی می‌گذرد، چنان متنوع و متناقض است که به‌سختی، می‌توان صفتی مشترک پیدا کرد که در همه پدیدهها یافت شود. این پژوهش بر آن است، تا ضمن شناخت رویکردهای حاضر در مجسمهسازی از 1980، ریشههای فکری و مبانی نظری آن را در ظهور ویژگیها، صورت بیانی و مفهوم ضمنی مجسمهسازی معاصر، مورد تحلیل قرار دهد. پرسش اصلی آن است که مجسمهسازی معاصر غرب در قالب چه رویکردهایی ظهور یافته است؟ اصول کلی و ویژگیهای عمده این رویکردها کدامند؟ و چه تشابهات و تفاوتهایی دارند؟ این مقاله با رویکردی توصیفی- تحلیلی از ُبعد فرم و محتوا به مجسمهسازی از سال 1980- 2000، پرداخته است. بدین منظور نگارنده، آثار هنرمندان شاخص در این بازه زمانی را بر مبنای فرم و ویژگیهای ساخت مجسمه‌ها در قالب چهار رویکرد اصلی 1) پیکره‌گرایی، 2) انتزاع‌گرایی، 3) شی‌گرایی، و 4) مکان-ساخت‌گرایی، معرفی کرده و سپس، ویژگیهای هر رویکرد را جهت شناخت بیش‌تر مورد تجزیه و تحلیل قرار داده است. دستاورد پژوهش، نشان‌دهنده آن است که به‌طور کلی، خصلت‌های «کثرت‌گرایی» در کاربرد اسلوب و روش‌های نامتجانس، «التقاطگری» در ترکیب مواد و اشیا متنوع، «متنگرایی» اثر به‌عنوان بستری جهت ارائه مفهوم و محتوای مورد نظر هنرمند و «فردگرایی» در به‌کارگیری سبک ساخت هر هنرمند را می‌توان از ویژگی مهم رویکردهای مجسمهسازی معاصر برشمرد؛ که هر کدام از موارد مذکور، در هر رویکرد به‌صورت کم یا زیاد برجسته است و در نهایت، این نتیجه حاصل شد که ویژگیهای مذکور، تحت لوای عامل «موضوع‌گرایی»، به‌عنوان نقطه اشتراک در همه رویکردها، ظهور یافته است. | ||
| کلیدواژه‌ها | ||
| واژگان کلیدی: آثار حجمی معاصر؛ مجسمهسازی غرب؛ پستمدرن؛ موضوع‌گرایی | ||
| عنوان مقاله [English] | ||
| Contemporary Western Volumetric Works Approaches and Features(Case Study from 1980 to Present) | ||
| نویسندگان [English] | ||
| Somayeh Moosavian | ||
| Ph.D. Student of Architecture, Science and Research Branch, Islamic Azad University, Tehran, Iran | ||
| چکیده [English] | ||
| Having started decades ago, what is transpiring in the sculpture sphere is of such a varied, plural, uncanny, and paradoxical nature. This goes insofar as not only is it impossible to tell genuine from the impure, but also it is not easily possible to trace attributes shared by all the phenomena and then to define the contemporary sculpture or to outline a certain value or hierarchy system for it. The only term that can be safely used today to describe works of sculpture is “uncertainty”. Featuring scattered, relative, personalized, commercialized, market-oriented aesthetics, post modernism is an art form of altered functions whose nature and identity are constantly changing. Definition of the essential and the art is not possible anymore. In other words, concepts like centralized aesthetics, purity, consonance, harmony, coherence, and ideal beauty have all been faced with disagreement in the temporary art, and this issue is in direct connection with today’s sculpture works. Nowadays, the term “sculpture” encompasses a much wider span of works. In fact, upon the emergence of post modernism, all the criteria that were once the essential conditions of a sculpture, like solidity, uniqueness, being an object and being bound to a particular location for display purpose, were deemed unnecessary. What is transpiring in the sculpture sphere today is so varied and paradoxical nature that it is impossible to trace attributes shared by all the phenomena. The present study is an attempt to identify the approaches prevailing in sculpture since 1980, and to analyze the theoretical foundations and intellectual origins of such approaches as well as the expressive forms and implicit concepts of contemporary sculpture. The main questions are the following: What approaches does contemporary western sculpture advocate? What are the fundamental principles and attributes of the approaches in question? What are the similarities and differences between these approaches? The main objective of this study is to examine the main characteristics and developments of the contemporary sculptural approaches in order to reach an integrated order of this category. This would in turn help with the extraction of features to achieve a unified viewpoint regarding the contemporary sculpture. Thus, given that the features of postmodern art have not yet been organized as for their influence in the contemporary sculpture, it is deemed necessary to probe into the issue. The reason is contemporary pieces of sculpture attempt to break away from the arbitrary boundaries set in the modern era. They are not willing to surrender to the purism and feigned confines of the modern era. This is why contemporary sculpture is defined in a far wider domain, and is more varied in the material, techniques, methods, etc. Therefore, it would be of help to identify and outline those features used to distinguish the works of contemporary sculptors from those previous eras and especially modern epoch. This way, a more profound evaluation of this art form would be feasible. A descriptive-analytical approach has been employed to analyze the form and content of sculpture from 1980 to 2000. To this end, the author has introduced the works of prominent sculptors of the mentioned period in the categories of 1.Figuration 2.Abstraction 3.Objectivity and 4.Place-structuralism. Characteristics of each approach are then analyzed. Findings of the research indicate that contemporary sculptors adopt resort to a variety of approaches and work with certain concepts and ambiance to express the fundamental assumptions and experiences of the time. They aim at elimination the extant general sensitivity towards the function of sculpture and redefining this function. The inclusive focus of their works on various approaches doubts the artistic, modern self-sufficient pieces of sculpture once appreciated as a “sublime” commodity. They employ different sculptural approaches to reflect dynamic experiences which are often mysterious, and feature narrative qualities and allegorical and personal expressions. All in all, "pluralism" in the application of fuzzy and heterogeneous methods, "eclecticism" in the combination of various materials and objects, and "text extroversion" of the work as a platform for the artist to present their desired content and concept, and “individualism” evident in the use of the artist’s personal style and self-awareness are the highlights of contemporary sculptural creations. Eventually, being “subject-oriented” was recognized as the common point shared by all the aforesaid approaches. This would per se bring about plurality in the form and concepts, eliminate hierarchies, put the content before the form, communicate a message, consider the issues of the day, apply new media and advanced technologies in the creation of items, widen the cultural span emerging in the works, address more general audience, and bring new media into the platform of sculpture in the form of installation art, architectural sculptures, etc., which would eventually alter the modernist definitions of sculpture. In fact, the notion of being “content-oriented” as the common point of all contemporary sculpture styles makes it possible for the sculptor to find inspirations in their immediate environment and express national and racial issues, boundaries, and social norms in the form of their individual concerns. Thus, racial, cultural, religious, and sexual minorities are using sculpture as a tool to voice their beliefs and to showcase their constraints. Consequently, given the plurality of the perspectives ahead, the contemporary sculpture is going through varied experimentalism in order to reach a novel expression. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: contemporary volumetric works, western sculpture, postmodern, topic based | ||
| مراجع | ||
|
آزبرن، پیتر(1383). هنر جدید: شاخههای هنر مفهومی(قسمت دوم)، ترجمه هلیا دارابی، تندیس، شماره 37، 9-8. اسماعیلی، نسرین و حسنوند، محمدکاظم(1397). بررسی رسانههای هنری جدید در آثار چهار هنرمند زن بین‌المللی معاصر، جلوه هنر، دوره 10، شماره 1، 21-33. اسماگولا، هواردجی(1381) .گرایشهای معاصر در هنرهای بصری، ترجمه فرهاد غبرایی، تهران: پژوهشهای فرهنگی. اسمیت، ادوارد لوسی(1384). جهانیشدن و هنرجدید، ترجمه علیرضا سمیعآذر، تهران: نظر. جنسن، آنتونیاف.(1381). پست- مدرنیسم: هنر پست- مدرن، ترجمه مجیدگودرزی، تهران: عصر هنر. خسرویفر، شهلا(1391). مطالعه تطبیقیگرایشات فیگوراتیو در مجسمهسازی مدرن و پستمدرن، نقش مایه، دوره 5، شماره 10، 83-94. کاباکوف،ایلیا(1385). هنر جدید: درچیدمان، ترجمه هلیا دارابی، تندیس، شماره 86، 24-25. گودرزی، مرتضی(1385). هنر مدرن، تهران: سوره مهر. محمدی نژاد، مرجان(1387). گذار از مدرنیسم به پسامدرنیسم، آینه خیال، دوره 2، شماره 12، 28-37. موسویان، سمیه(1394). تحلیل زمینههایپیدایشمجسمهسازی پستمدرن از 1960 تا 1980، باغ نظر، دوره 12، شماره 34، 59-68. References: Archer, M. (2002). Art since 1960, London: Thames & Hudson. Bostram, A. (2004). The Encyclopedia of Sculpture, New York: Fitzroy Dearborn. Esmaili,N., Hassanvand, M. K. (2018). A Study on New Art Media in The Works of Four Contemporary International Female Artists, Jelve-y-Honar, 10 (1), 21-33 (Text in Persian). Foster, H. (2004). Art since 1900: Modernism, antimodernism, postmodernism, London: Thames & Hudson. Goudarzi, M. (2006). Modern Art, Tehran: Soore Mehr (Text in Persian). Hopkins, D. (2000). After Modern Art 1945-2000, London: Oxford University. Harper, G., Moyer, T. (2006). A Sculpture Reader : Contemporary Sculpture Since 1980 (Perspectives in Contemporary Sculpture), New York: ICS. Janson, A. F. (2001). Post Modernism: The Art of Post Modern, Translated by Majid Goudarzi,Tehran: Asre Honar (Text in Persian). Joselit, D. (2003). American Art Since 1945. London: Thames & Hudson. Kabakof, I. (2007). Installation, Translated by Heliya Darabi, Tandis, 86, 24-26. (Text in Persian). Khosravifar, Sh. (2012). A Comparative Study of Figurative Trends in Modern and Postmodern Sculptures, Naghsh Mayeh, 5 (10), 83-94. Krauss, R. (1979). Sculpture in the Expanded Field, The MIT Press, 8, 30-44. Osborne, P. (2005). Conceptual Art Branches.Translated by Heliya Darabi. Tandis, 37, 6-7 (Text in Persian). Mohammadi Nejad, M. (1997), Transition from Modernism and Postmodernism, Ayeneh Khial , 2 (12), 28-37 (Text in Persian). Moosavian, S. (2015). Analysis of Appearance Fields of Postmodern Sculpture from 1960 to 1980, Bagh-e-Nazar, 12 (34), 59-68. (Text in Persian). Pakbaz, R. (2004). Encyclopedia of Art, Tehran: Farhang Moaser (Text in Persian). Smagula, H. J. (2003). Currents: Contemporary Directions in the Visual Arts. Translated by Farhad Ghabraei, Tehran: Cultural Studies (Text in Persian). Smith, E.L. (2000). Art Today. London: Phaidon. Smith, E.L. (1995). Movments in art since 1945 : Issues and Concepts. Translated by Alireza Sami Azar, Tehran: Nazar (Text in Persian). Smith, E.L. (1987). Sculpture since 1945. London: Phaidon. Stangos, N. (1996). Concepts of Modern Art. London: Thames & Hudson. Walther, F. (2000). Art of the 20th Century. New York: Kolen Taschen. Woods, T. (1999). Beginning Postmodernism, London: Manchester University.
| ||
|
آمار تعداد مشاهده مقاله: 858 تعداد دریافت فایل اصل مقاله: 481 |
||