پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 927 |
| تعداد مقالات | 7,638 |
| تعداد مشاهده مقاله | 12,445,378 |
| تعداد دریافت فایل اصل مقاله | 8,859,533 |
مطالعۀ ویژگی‌های فرم و محتوای آثار سفالین هنرمندان کبرا | ||
| جلوه هنر | ||
| مقاله 6، دوره 14، شماره 2 - شماره پیاپی 35، شهریور 1401، صفحه 59-69 اصل مقاله (1.53 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2022.38299.1722 | ||
| نویسنده | ||
| مهرنوش شفیعی سرارودی* | ||
| دانشیار گروه صنایع دستی ، دانشکده صنایع دستی، دانشگاه هنر اصفهان ، اصفهان، ایران | ||
| چکیده | ||
| در جنبش‌های آوانگاردی که هنر قرن بیستم قبل از سال‌های 1940 به خود دیده است، نقاشی، مجسمه‌سازی و شعر به‌طور صمیمانه‌ای با هم در ارتباط بوده‌اند. از طرفی هنرهای کاربردی نه‌فقط به‌عنوان بهترین محتوا برای صنعت، بلکه به‌صورت رسانه‌ای در دست هنرمندان، بوده است. بعد از جنگ جهانی دوم جنبش‌هایی شکل گرفتند که به‌طور مشخص مرکز توجه آنها آزادی بیان بود. جنبش کبرا یکی از جنبش‌های مهمی است که در همین زمان، یعنی زمانی که توقعات و اتفاقات فوق‌العاده‌ای از آینده انتظار می‌رفت، شکل گرفت، زمانی که تعداد زیادی از نوابغ هنری در آن دوران فعالیت داشتند. هنرمندان جنبش کبرا که مرکز توجه آنها آزادی بیان بود، هیچ محدودیتی را نه از نظر روش کار و نه محتوای آثار برای خود قائل نبودند. لذا در آثار هنری ایشان کارهایی از جنس سفال به‌وفور یافت می‌شود. آثار سفالین هنرمندان این جنبش هیچ شباهت و ارتباط مستقیمی از نظر روش کار و فرم و محتوای آثار، با سفال در معنا و فرم سنتی خودش ندارد؛ ازاین‌رو فهم و پذیرش این آثار همانند هر اثر هنری دیگری، در گرو شناخت اندیشه‌های هنرمندان خالق آنهاست؛ بنابراین پژوهش پیش رو به‌دنبال چگونگی فرم و محتوای آثار سفالین اعضای این جنبش است. سؤال اصلی که در مقاله مطرح شده این است که آثار سفالین هنرمندان جنبش کبرا از نظر فرم و محتوا چگونه است. این پژوهش با هدفی کاربردی، با استفاده از منابع کتابخانه‌ای و اسنادی و به روش توصیفی‌تحلیلی و تجزیه‌وتحلیل کیفی و نمونه‌گیری غیرتصادفی انجام شده است. نتایج پژوهش نشان می‌دهد که این آثار کاملاً جدا از بافت سنتی سفال و در راستای اهداف و تفکرات این جنبش شکل گرفته است. ویژگی‌های اصلی آثار سفالین این هنرمندان شامل آزادی و بداهگی، توجه به هنر کودکان و هنر بدوی، غیرتخصصی‌بودن هنر و خلق آثار گروهی بوده و نگاهی نو و جدید را در دنیای سفال خلق کرده است. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: جنبش کبرا؛ اندیشه‌های کبرا؛ سفال؛ هنر قرن بیستم | ||
| عنوان مقاله [English] | ||
| Study of the Form and Content Characteristics of the Pottery Works of Cobra Artists | ||
| نویسندگان [English] | ||
| Mehrnoosh Shafiei Sararoudi | ||
| Associate Professor of Handi Craft Department , Faculty of Crafts, Isfahan University of Art, Isfahan, Iran. | ||
| چکیده [English] | ||
| In the Aavant-gardes movements that 20th-century art has seen before the 1940s, painting, sculpture and poetry have been intimately connected. On the other hand, applied arts have been not only the best content for industry, but also as a medium in the hands of artists. After World War II, movements were formed that were particularly central to freedom of expression. The Cobra movement is one of the important movements that took place at that time, when extraordinary expectations and events of the future were expected and a large number of artistic geniuses were active at that time. The artists founded the Cobra movement, one of the most important and influential movements of the 20th century, with the aim of creating a better society and thinking that creative expression could be the creator of a global language. This movement held many exhibitions and published a magazine called Cobra during its career, and despite the short time of its official activity, it had many influences in the formation of other future movements. This movement, which was formed in Paris in November 1948, was a reaction to the conflict between Abstruction and Figuration, and founded by poet Joseph Navare and painters such as Carl Apple, Constant, Corneille, Cristian Detromonte and Asgar Jorn. Since most of the artists in this movement were living around Copenhagen, Brussels, and Amsterdam, the name of movement was chosen by the initiative of these three cities, hence the article is called CoBrA. Members of the Cobra movement reject western rationalist culture, which they believe world war II shows its consequences and devastation, and with the hope to achieve the sources of artistic creations, seek their forms that are not polluted by Western laws and rules. These forms include totems and magical signs of primitive cultures, Eastern calligraphy, and prehistoric arts. At the same time, this group of artists is also mindful of the untapped aspects of their own culture; nordic folk art, primitive art, the simple art of the childless world, and even the art of mentally retarded people. In their view, these works are very strong and powerful and are closer to the nature, instinct and psyche of individuals and in fact represent the artist's deep identity. The artists of the Cobra movement, whose focus was freedom of expression, did not place any restrictions on their own in terms of methodology or content of the works. So, in their artworks, pottery works are found numerously. Pottery works of this movement have no similarity and direct relation in terms of the method, form and content of the works with pottery in its traditional meaning and form. Therefore, understanding and accepting these works like every other artwork depends on understanding the thoughts of their creator artists. Therefore, the following research is looking at how the form and content of the works of pottery members of this movement are. The main question discussed in the article is: How are the pottery works of artists of the Cobra movement in terms of form and content? So, this research has been set into two main parts including the research literature and data and results of the research. The research literature first takes a brief look at the cobra movement, which introduces the movement, and then looks at the pottery works of Cobra artists and studies the beginnings of pottery for them and the prominent artists in this field. In the data section and the findings of the research, it analyzes the characteristics of the pottery works of these artists in the form of five main features, that are extracted from the studies in this field. This paper has been conducted with an applied purpose and descriptive-analytical method and analyzes the pottery works of artists of this movement. The information and data were collected through library and electronic documents. The selected samples were selected by descriptive method and based on research objectives and available samples. Data analysis was performed by qualitative method. There is not a reliable and comprehensive source in Persian regarding the Cobra movement, the formation and thoughts formed in this movement and only a few references have been made to it in books and electronic sources that deal with contemporary Western art. However, in Latin, there are many books called COBRA that analyze the thoughts and works of its artists. In the study and research on the cobra movement and the characteristics of the art of its members, some cases have been highlighted, colorful and important in their works. These characteristics can be distinguished in a few cases, which can be seen in most of the works of members of this group, by any method and material they have been created. Studies conducted in this study showed that the artworks of members of this movement are accompanied by several important features that were extracted and categorized for ease of information presentation and coherence in the text. According to the studies, the works of the members of this movement have some characteristics including the freedom of the artist to create the work and create the works without preconception and unconsciously, the primitiveness of the works and attention to the art of the primitive tribes, the creation of childish works, the anti-professionalism of the works created by the artist and the creation of the works collectively and in groups, which were dealt with in detail in the text of the article. Only a few artworks of members of this movement are created and there are not many available examples of these works. But this limited number somewhat represents a unique, transformative and influenced atmosphere of the thoughts of members of this movement and their analysis is not possible except through their thinking. Therefore, it can be said that the works formed in this movement have five main and general characteristics in their form and content. All of these features and sometimes a number of them are evident in the pottery works that the main of which is freedom and improvisation in the creation of the work which is seen in almost all the works created in this movement. Paying attention to children's art and primitive art are other features of Cobra pottery artists that has been addressed in many cases. Another common feature of all these works is the unspecified of its artists that lead to the point that these works have made by artists who are not potters and are mainly painters or sculptors, and even poets and writers are among them. Creating group works in the pottery works of artists of this movement is an emerging phenomenon at the time when the works are simultaneously created by several artists. These features can be explored not only in pottery works, but also in other works done by the artists of this movement. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Cobra Movement, Cobra Thoughts, Pottery, Twentieth Century Art | ||
| مراجع | ||
|
References
Abadie, D. (1994). Pierre Alechinsky, Toiles, grès et Porcelaines, Paris: Galerie Lelong.
Jorn, A. (1958). Pour la Forme-éblauch d´une Méthodologie des Arts, Paris: Internationale Situationniste.
Jorn, A. (2001). Discours aux Pingouins et d´autres Ecrits, Paris: Ecole Nationale Supérieur des Beaux-Arts.
Kurczynski, K. (2014). The Art and Politics of Asger Jorn : The Avant-Garde Won't Give Up, UK: Routledge.
Lambert, J. C. (1983). Cobra, un Art Libre, Paris: Chêne/Hachette.
Stokvis, Willemijn (2000). Cobra et Céramique, Dans De la Couleur et du Feu, Réunion des musées nationaux, Paris et musées de Marseille, 67-81.
Stokvis, W. (1988). Cobra Mouvement Artistique International du Second Après-Guerre Mondial, Paris: Albin Michel.
Stokvis, W. (2001). Cobra la Conquête de la Spontanéité, Paris: Gallimard.
Laoureux, D. (2013). Desceller le Signe, Revue et Encyclopédie Multimédia des Arts, N. 43,
Musée de Tessé au Mans, Cobra, la Couleur Spontanée, Exposition Temporaire du 11 Novembre 2017 au 18 Février 2018.
Onet, R. (2009). Déclinaison du Collectif. Christian Dotremont: de Cobra aux logogrammes, Journal Paroles Gelées: 25(1), 37-54.
URL(s)
URL1 : arts.savoir.fr/les-mouvement-dans-la-peinture-cobra/ (دسترسی در 13مرداد 1397)
URL2: : artvalue.com/default.aspx?ID=23&AVEC_PHOTOS=O&ARTISTE_ID=887&ARTISTE=ALECHINSKY&C (دسترسی در 13مرداد 1397)
URL3: connaissancedesarts.com/peinture-et-sculpture/revoir-karel-appel-au-musee-dart-moderne-de-la-ville-de-paris-1163403/ (دسترسی در 12 تیر 1397)
URL4: dordrechtsmuseum.nl/objecten/id/dm-010-s48/ (دسترسی در 12 مرداد 1397)
URL5: masterworksfineart.com/artists/pablo-picasso/ceramic/vase-deux-anses-hautes-vase-with-two-high-handles-the-queen-1953-2/id/w-6371 (دسترسی در 11/11/1400)
URL6: museumjorn.dk/en/collections/about-asger-jorn/ (دسترسی در 13 مرداد 1397)
URL7: sergevandercam.com/en/node/231 (دسترسی در 13مرداد 1397)
URL8: smk.dk/en/visit-the-museum/exhibitions/asger-jorn-restless-rebel/immerse-yourself-in-jorn/1954-1963/ (دسترسی در 12 مرداد1397)
| ||
|
آمار تعداد مشاهده مقاله: 296 تعداد دریافت فایل اصل مقاله: 224 |
||