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واکاوی زبان دستبافته های ایرانی از منظر فرمالیسم با رویکرد به آراء موکاروفسکی | ||
| مبانی نظری هنرهای تجسمی | ||
| دوره 9، شماره 1 - شماره پیاپی 17، تیر 1403، صفحه 109-127 اصل مقاله (2.73 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.45233.1554 | ||
| نویسنده | ||
| محمد افروغ* | ||
| گروه اموزشی فرش، دانشکده هنر، دانشگاه اراک | ||
| چکیده | ||
| دست‌بافته‌های ایرانی شامل قالی دست‌باف کلاسیک(شهری‌باف) و مشخصاً دست‌بافته‌های عشایری است که در این پژوهش با هدف سنجش میزان تطبیق فرم و محتوای آن‌ها با مبانی مکتب فرمالیسم و اندیشه یان موکاروفسکی عضو برجسته این جنبش مورد مطالعه و بررسی قرار گرفته است. دربخش نخست پژوهش، مبانی و اصول نظریه فرمالیسم و دربخش دوم آموزه‌های موکاروفسکی درباب ماهیت، ویژگی‌ها و کارکردهای اثر هنری و هم‌چنین برجستهسازی به‌‌عنوان یک مفهوم کانونی درارتباط با قالی دست‌بافت کلاسیک و دست‌بافته‌های عشایری مورد بررسی قرارگرفته است. در گذار ساختارگرایی فرمالیسمی، این‌که فرم(نقش) چه چیزی را منتقل می‌کند در اولویت دوم قرار می‌گیرد. به‌واقع دراین مسیر، محتوا پیامد تحقق فرم و نقش است. چه این‌که خلّاقیت در تحول فرم، منجر به آشناییزدایی می‌شود. پدیده‌ای که رهیافت فرمالیسم و فرآیندی در راستای خلاقیت است. مسئله محوری در پژوهش پیش رو ناظر به طرح این پرسش است که ویژگی‌ها و شاخص‌های متن دست‌بافته‌های عشایری از منظر فرمالیسم و آراء موکاروفسکی کدام است و تا چه میزان به مؤلفه‌ها و خصوصیات فرمالیسم منطبق یا نزدیک است؟ خلاصه نتایجی که از بررسی دست‌بافته‌ها یافت می‌شود این است که طراح[درقالی‌های شهری] و بافنده-طراح[در دست‌بافته‌های عشایری] هم درایده‌پردازی خیالی و طراحی انتزاعی(پرهیز از واقع-گرایی، شباهت‌گزینی و طراحی کلیشه‌ای) و هم در تصویرسازی و ذهنی‌بافی که منجر به آفرینش متن‌های تصویری بدیع و نو می-شود، به‌‌صورت تجربی و خودانگیخته مبانی و شالوده فرمالیسمی را رعایت و نمودار کرده‌است. این پژوهش از نوع کیفی و بنیادین، روش تحقیق توصیفی-تحلیلی و شیوه گردآوری داده‌ها به‌‌روش کتابخانه‌ای است. | ||
| کلیدواژه‌ها | ||
| فرمالیسم؛ آشناییزدایی؛ موکاروفسکی؛ برجستهسازی؛ قالی | ||
| عنوان مقاله [English] | ||
| Analyzing the Language of Iranian Handlooms from the Perspective of Formalism with an Approach to Mukarovsky's views | ||
| نویسندگان [English] | ||
| Mohammad Afrough | ||
| department of corpet. facullty of arts. arak university. | ||
| چکیده [English] | ||
| Literary schools and theories are always considered to be the most efficient tools for clear understanding of literature and art. Formalism, is one of the most important deconstructive and progressive schools in literary criticism, which became the basis of a new definition and look at art in the late 19th century to the middle of the 20th century. formalism is one of the most important literary theories that created a significant impact on the path of literary and artistic theorizing. this theory emerged with the insight that form is a set of relations between the signs and components of the work and gives consistency, structure, framework and meaning to objects and phenomena and is based on the independence of the text. Regarding the importance of form and shape, Henfling believed: the essence of art should be found in its form. A theory "which considers the formal characteristics of the work as the most important element of its foundation and considers the content of the work as the result of the realization of the form" With its emergence, formalism established a new attitude towards literary traditions and the written and visual sphere, paying attention and focus on the form (motif), structure and form of poetry and artwork in order to achieve the goal of the work, i.e. literary and artistic, is the focus of the theory of formalists. also, "they tactfully tried to overcome the traditional duality between form and content" The formalists "used the form so widely that it absorbed what was usually called the content". They believed that human content (emotions, thoughts and reality in general) in itself lacks literary and artistic meaning and merely provides the basis for the performance of arrangements. the word formalism is avoiding representation and negation of automaticity and habituation and trying to discover, reread and re-see a text or work of art from a new lens, which requires a change in the structure, defamiliarization, norm avoidance and highlighting in that text. According to them, aesthetic understanding does not need to know non-perceptual features. In fact, understanding the work itself is the goal, and what is called the content of the work is itself a part of the form aspects. They were trying to show how literary arrangements create aesthetic results. Beardsley Fry writes in connection with repetition and habituation: it is enough to recognize an object or person, by doing this, they are somewhere in our mental list of things and persons. they find and are not really seen anymore. Therefore, in order to pass this procedure, representation and automation and descriptive qualities should be put aside. What if art is the revealer of fantasy life instead of real life. In formalism, the value of a work is in the meaningful and signifying form and the representational characteristics serve the form of objects. A separate form from time and place and paying attention to the social context and historical context, has an inner and essential truth and importance hidden in itself. In connection with formalism and specifically in this research, two key words are very important. First, defamiliarization, which is a central concept in formalism, and highlighting, which is one of the important concepts of Yan Mukarovsky's opinions and teachings. familiarization or alienation is the most prominent concept in the system of formalism theory. This term was coined for the first time by Viktor Shklovsky, a Russian critic in the mentioned book, which became the basis for important developments in literary and artistic studies. Shklovsky's article is so important that some have called it a statement of formalism. In this article, Shklovsky says that the main work of art is to change the shape of reality which is interpreted as "making strange" according to the root of the word in English. Highlighting was used for the first time by Yan Mukarovsky. The role of highlighting is to create literary [artistic] creativity and the opposite of automation. She believed that in artistic language, "highlighting reaches the maximum intensity to the extent that the act of communicating is pushed to the background. in fact, communication is no longer the goal of expression, but it is to highlight the expression itself and put it in the foreground". Leach believes that highlighting means artistic deviation; a deviation that has artistic motivation. This art and trick create a break in automaticity through unexpected, strange, and prominent words and expressions [patterns and images] and attracts the reader's attention. This feature in the formalistic attitude and especially in the nomadic handwoven carpets, is the most important type of crossing and deviation from the normal language of imagery, and therefore saves the imagery from approaching stereotypes and repetition and draws the viewer's attention away from the text. And the content (theme) attracts by the method of expression and the role itself, which has subjectivity in handwoven. According to Mukarovsky's point of view, nomadic handloomed are the most prominent in expression. Mukarovsky was one of the effective formalists in the development of this thought process, which has significant opinions regarding the nature and nature of the work of art. According to him, art has a semiotic nature and is considered a sign. A work of art, unlike a tool, does not serve any purpose and is created simply by its own existence. this feature is also prominent in the creation process of nomadic handlooms. "This disinterestedness since there is no specific subject and no rational reason for it, makes us measure the art of the nomads with a quality that is considered noble and original art in the aesthetic experience due to the principle of "disinterestedness". A thought and characteristic that is rooted in Kant's beliefs. In addition, the work of art can have different functions at the same time. On the other hand, Iranian handwoven carpets and nomadic handlooms and the mechanism of creating their text and motifs are in accordance with formalist beliefs and especially Mukarovsky's opinions. Iranian weavings include classical handwoven carpets (urban weaving) and especially nomadic weavings, which in this research, with the aim of measuring the degree of matching their form and content with the foundations of the formalism school and the thought of Jan Mukarovsky, a prominent member of this movement, has been studied and reviewed. in the first part of the research, the basics, and principles of the theory of formalism and in the second part, Mukarovsky's teachings about the nature, characteristics, and functions of the work of art, as well as highlighting as a focal concept in relation to the classical carpet and nomadic weavings were studied. In the transition of formalism structuralism, what the form (motif) conveys is placed in the second priority. In this research, an attempt was made to measure the motifs and images as the artistic language and literature of urban woven carpets and nomadic weaves based on the theory and approach of formalism, as the aim of the research. Therefore, the literary and artistic text is the same handwoven fragments and unusual, unfamiliar and exaggerated motifs, arising from the imagination that evokes strange and original words. Also, the main and raised question is, what are the characteristics and indicators of the nomadic handwoven text from the perspective of formalism and Mukarovsky's opinions, and to what extent is it consistent or close to the components and characteristics of formalism? This research is qualitative and developmental type, and the research method is descriptive-analytical. Also, data collection method has been done in library. | ||
| کلیدواژه‌ها [English] | ||
| Formalism, Defamiliarization, Mukarovsky, Accentuation, Carpet | ||
| مراجع | ||
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