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آسیبشناسی جایگاه تصویر در فرهنگ جهانی با رویکرد انسانشناسی تصویر | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 6، دوره 6، شماره 2 - شماره پیاپی 12، دی 1400، صفحه 69-80 اصل مقاله (1.23 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2021.37979.1347 | ||
| نویسندگان | ||
| فریماه فاطمی1؛ عفت السادات افضل طوسی* 2 | ||
| 1دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| 2استاد گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| از دیرباز، تصویر همواره نقش بنیادینی در برقراری ارتباط بین انسانها و انتقال اطلاعات داشته و امروزه، با توجه به عصر جهانی و گسترش اطلاعات، این امر بیش از پیش گسترش پیدا کرده و سبب ایجاد تغییر و تحول به واسطه رسانهها در هنرهای تصویری شده است؛ این مساله، نتایج مثبت و منفی را به همراه داشته است. این پژوهش با ماهیت تحقیق کیفی و با استفاده از روش توصیفی- تحلیلی و شیوه جمعآوری اطلاعات به صورت مراجعه به اسناد کتابخانهای سعی دارد به پاسخ این سوال دست یابد که: آیا تصویر و انتقال آنها بهواسطه رسانهها، امروزه میتواند ما را به شناخت فرهنگ و انسان عصر حاضر رساند؟ در این میان از دیدگاه آسیبشناسانه به تصویر در پوستر با تکیه بر رویکرد انسانشناسی تصویر هانس بلتینگ، وجوه و جایگاه تصویر میپردازد؛ تا عواملی که سبب بازنمایی صورتهای بدون محتوا و یا نامرتبط میشود، مورد تحلیل قرار گیرد. از منظر بلتینگ فرهنگهای بصری از ارتباط سه مولفه تصویر، جسم و رسانه شکل میگیرند که حاصل این ارتباط، شناخت فردی و جمعی به صورتهای ذهنی و بیرونی است. نتیجه یافتهها در این پژوهش بدین صورت است که، تجسم تصاویر به واسطه رسانهها، دارای قدرتی است که ذهنیتهایی را برای مخاطبین و هنرمندان ایجاد میکند؛ در این موارد مخاطبان با حضور عناصر تجسمی مواجه میشوند که دیدگاه مناسب و جامعی را از مفاهیم و محتوای تصویر مورد نظر منتقل نمیکند و تنها مخاطب از حضور عناصری آگاه میشود، بدون آنکه جنبههای پنهان و محتوای نهفته، آشکار باشد و در این میان، بعضی هنرمندان با ذهنیتی که توسط تصاویر حضور یافته کسب کردهاند به خلق اثری که بازتابی از صورتها بدون بازنمایی مفاهیم باشد، میپردازند. نتیجه یافتهها در این پژوهش بدین صورت است که تجسم تصاویر به واسطه رسانهها، دارای قدرتی است که ذهنیتهایی را برای مخاطبین و هنرمندان ایجاد میکند؛ زیرا هنرمندان در خلق آثار به حضور عناصر تاکید و اموری که غایب هستند از منظر مخاطب پنهان میباشند؛ مخاطب تنها با امر حاضر، بدون آگاهی لازم از امر غایب مواجه میشود و در این میان بعضی هنرمندان با ذهنیتی که توسط تصاویر حضور یافته کسب کردهاند به خلق اثری که بازتابی از صورتها بدون بازنمایی مفاهیم باشد، میپردازند. | ||
| کلیدواژهها | ||
| انسانشناسی تصویر؛ تصویر؛ رسانه؛ عصر جهانی؛ هانس بلتینگ | ||
| عنوان مقاله [English] | ||
| Pathology of the Position of the Image in the Global Culture with an Approach of Image Anthropology | ||
| نویسندگان [English] | ||
| Farimah Fatemi1؛ Effat Sadat Afzal Tousi2 | ||
| 1Ph.D. Student of Art Research, Faculty of Art, Alzahra University, Tehran, Iran. | ||
| 2Professor at Art research Department, Alzahra University,Tehran, Iran. | ||
| چکیده [English] | ||
| Culture–which is considered as social actions- is comprised of a set of behaviors that generate meanings or transform other meanings, and is always alive, dynamic, and changing. Image is known as the shared language relating to the culture and has long had a fundamental role in establishing a connection between humans and transferring information. This has expanded even further today due to the global era and expansion of information, resulting in changes and transformation made by media in graphic arts, which has had both positive and negative results. Images convey different symbols, meanings and influence one another in today's communications. The connections formed by images provide sources to maintain the interaction between the producer and audience of the image. Among the positive results of this procedure, one could mention the generation of global standard models, concept homogenization, and image heterogeneity which results in visual traditions in the works of art. many images are shaping that have shaped and become tangible in the minds of artists by media, the understanding of which would not lead the audience toward knowledge of humans and their culture in any specific period. The prominent presence of the media and image transmission could be considered a replacement for the distinct and ancient culture of each region in many cases, ideas and thoughts can be observed in the works of art which are not reflections of the current situation of the artist's society but rather a reflection of the images delivered at a global level by media; in fact, the experience of access to image sources contains information that is being delivered homogenously and on a broad expanse. Image and graphic arts that interact with the audience and one another at the international level can result in the cognition of the current situation of the present era’s humans. These images convey concepts relating to individual and collective culture and mentalities of a specific place or culture in many cases, while sometimes images are created that illustrate different and contradictory viewpoints for viewers and analysts. This study is a qualitative survey in nature, employs a descriptive-analytic method, uses desk research to collect data by referring to library documentation, and seeks to answer the question of whether images and their transmission by media can provide us with cognition of the contemporary human and his culture. Meanwhile, the study addresses the pathology of the generated images by reliance on Hans Belting's image anthropology approach as well as the position and aspects of the image. According to Belting, visual arts are made up of the interaction between the three components including object, image, and media, the result of which is individual and collective cognition in both mental and external forms. Hans Belting’s theory was proposed in German philosophical anthropology and inconsistency with Kant's viewpoints seeking to study images regardless of the prevailing historical constraints. Besides, he believes that the study of the image relies on an anthropologic approach since every image will eventually need an anthropological interpretation. In his anthropological study of the image, Belting considers the dual symbolic content of the image and believes the image to be an external as well as an external phenomenon. This dual characteristic of the image reveals the foundation of his anthropological viewpoint. Images are created based on both individual and collective cognition. Belting's viewpoint regarding the image could be summarized in the statement that he considers no distinction between mental and external images and considers such a distinction as the result of a false duality. Both these images are interacting so that the external images are under the influence and control of mental images and are generated based on the individual and collective imagination. Besides, images are constantly being exposed to new interpretations the reason for which is the use of a new medium. According to David Hockney’s viewpoint regarding image indicating that each image is a narrative of looking, the formation of similar works of art could be considered as the result of similar perceptions and the power of image in media. According to this, narratives are no more formed by the structure of an individual viewpoint and unique mentality but are being generated by the viewpoints being exchanged between transient participants. Each image can have an internal and external aspect that the artist uses to create the work; In the meantime, due to the dominance and power of the media, many mindsets created collectively and individually will not give the necessary knowledge and awareness of the desired reality; Because many images are made by the artist as a slice of reality and the artist has the option to choose by presenting the existing reality. Sometimes the artist destroys a familiar experience to create a contradiction with existing works; Destroying that is to establish values in the mind of the audience. Visual arts are an intermediary between what is engraved in previous works and what is valuable and sought after by the audience. These values are often presented at international events by art institutions. Thus, in many cases, artists consider the social reality to be recorded, which has the desired value by the audience of that particular work, and their repetition and continuity cause visual signs over time; Thus, there are repetitive faces that have been transferred to mindsets only through the power of the image in the media. conceptions are formed by faces; without content representation. So that sometimes it seems like distorting the content or changing it. In some cases, the artist represents what is displayed, even though the representation is only a slice of the desired reality, and to be affected by them, one must also examine the hidden content aspects of the subject to be able to Communicate cultural and intended concepts more clearly. The presence and display of images that originate from reality are directly related to the culture of a particular region that is interacting and transmitting due to the expansion of communication; This introduces many concepts and images in world culture. | ||
| کلیدواژهها [English] | ||
| Image Anthropology, Media, Image, Global Era, Hans Belting | ||
| مراجع | ||
URLs:
Url1: https://wncontest.ru/en/design/archive/?SECTION_ID=202 (Accessed Date: 21.05.2020) Url2: https://scopus.com/term/analyzer.uri?sid=b1c08d4c99cad36106fee5aca6bd6dd0 (Accessed Date: 21.05.2020). Url3: https://www.posterfortomorrow.org/en/gallery/53946 (Accessed Date: 3.07.2020). Url4: https://www.posterfortomorrow.org/en/gallery/55027 (Accessed Date: 11.01.2021). Url5: http://posteriran.ir/iranian-poster-designers/p/624-siamak-todeh-fallah (Accessed Date: 21.05.2020). Url6: http://posteriran.ir/online-exhibition/p/681-green-season-poster(Accessed Date: 21.05.2020). Url7: https://www.designdrop.ir/notoracism-poster/ (Accessed Date: 1.03.2020). | ||
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