مطالعه تطبیقی بازنمایی فضای معماری سنتی در آثار نقاشی و معماری معاصر ایران، نمونه موردی: آثار نقاشی پرویز کلانتری و آثار معماری سید هادی میرمیران

نوع مقاله: مقاله پژوهشی

نویسندگان

1 گروه معماری، واحدخمین، دانشگاه آزاداسلامی، خمین، ایران.

2 گروه معماری، واحد خمین، دانشگاه آزاد اسلامی، خمین، ایران.

3 گروه معماری، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران.

چکیده

نقاشی و معماری همیشه در کنار هم بوده اند و با ویژگی های انحصاری در مبانی و صور به دیگری کمک کرد هاند.گاهی نقاشی ایده اولیه معماری بوده و گاهی معماری موضوع نقاشی شده است. بنابراین درک فضایی از هر کدام، از زاویه دید هنرمند، به گونه ای مددرسان خلق فضا به شکلی متفاوت است.حلقه ای گمشده که در تنها عنصر غیر قابل حذف آن ها یعنی فضا مشترکند، فضایی که در نقاشی دو بعدی و سه بعدی، مجازی و در معماری عینی آفریده می شود. این مقاله جستاری پیرامون بازنمایی فضای معماری سنتی در نقاشی و معماری معاصر ایران است که در آثار نقاشی کلانتری و میرمیران دیده شده است. این نوشتار نظر دارد با مقایسه رابطه مفهوم فضا در نقاشی و معماری در دوران معاصر به بررسی پیوندهای مفهومی میان این دو هنر بپردازد. هدف از انجام پژوهش نیز دستیابی به درک مشترکی از هنرمند نقاش و معمار از فضای معماری سنتی ایران است. برای این منظور دو هنرمند که در آثارشان به بازنمایی و برداشت خود از فضای معماری سنتی پرداخته اند و در این زمینه پیشرو و مطرح هستند انتخاب شد هاند و بدین منظور سه مقوله اصلی مورد بررسی قرار گرفته است.
گام نخست: بررسی بازنمایی فضای معماری سنتی و مفهوم آن در آثار نقاشی پرویز کلانتری؛
گام دوم: بررسی بازنمود فضای معماری سنتی ومفهوم آن در آثار معماری سیدهادی میرمیران؛
گام سوم: بررسی "رابطه و پیوند فضای نقاشی و معماری" در این دو هنرمند معاصر.
روش پژوهش، براساس مطالعه تطبیقی، تحلیل تفسیری وبا تحلیلی شکل گرایانه و شمای لنگارانه انجام شده است. روش کار به گونه ای تنظیم شده که عوامل مؤثر بر شکل گیری فضا در نقاشی ها و معماری های منتخب تحت بررسی و تجزیه و تحلیل قرار گرفته و آثار نقاشی با روش های مذکور مورد ارزیابی واقع شده است. در نهایت ویژگی های مشترک بازنمایی
فضاهای سنتی ایران در آثار دو هنرمند بیان شده است.

کلیدواژه‌ها


عنوان مقاله [English]

Comparative Study of Representation of Iranian Traditional Spaces in Contemporary Painting and Architecture Works, Case Study: Parviz Kalantari’s Painting Works and Seyyed hadi Mirmiran’s Architecture Works

نویسندگان [English]

  • Amir Samiei 1
  • Sahar Khodabakhshi 2
  • Manouchehr Foroutan 3
1 Department of Architecture, Khomein, Branch, Islamic Azad University, Khomein, Iran.
2 Department of Architecture, Khomein, Branch, Islamic Azad University, Khomein, Iran.
3 Department of Architecture, Hamedan Branch, Islamic Azad University, Hamedan, Iran.
چکیده [English]

Iranian painting, without merely imitating the nature, has been trying to create ideal spaces for a long time. These spaces were exactly what the artist had in mind. Thus, except the periods influenced by Western traditions, no signs of naturalism can be found in Iranian painting. Instead, from ancient times, stylization, symbolism and decoration were common in the visual art of this land. The space derived from the mind of the artist is the fixed and unchangeable element of painting evolution which cannot be neglected in studies. This space is formed, processed and finally objected on the canvas. Space is the result of the relationship between the audience and the motif. It is a vehicle for conveying the inner structure of the motif which takes the viewer to a ride on the mental world of the subject, the painter. Whenever the space of the motif captures the audience and makes him synchronized with it, one can conclude it has played its role well and then this sweep will continually be repeated. A similar attitude toward the space has been differently demonstrated in poetry. A poem written by George Trakl, which describes a winter evening, uses concrete images that we all know them in our routine world. However, these images also imply on more general structures as the main title of the poem holds everything in this natural context. The importance of this research can be tracked in modern
notions and understanding of different architectural and painting spaces in a given period. This research is done through examining the common deepest conceptual layer of these two arts; that is the relationship between the spaces of the two, the goal of the research can be achieved. This paper aims to shed light on the fact that in Iran the conceptual relationship between painting and architecture has been established and in the contemporary era, these two arts which were fed by one source transferred the same spatial concepts. Painting and architecture were always been together and, with exclusive features, helped each other out on the foundations and forms. Sometimes, painting becomes the initial idea of architecture and vice versa. Thus, spatial perception of the artist has helped to create space in a different way. The missing ring in their only irreducible common spaces is a space created in objective architecture, two-dimensional space, three-dimensional space, and virtual painting. This article investigates the representation of traditional architecture space in Iranian contemporary painting and architecture which can be seen in Mirmiran and Kalantari paintings. Through comparing the relationship of the concept of space between painting and architecture in the contemporary era, this paper intends to study the conceptual links between the two arts. The aim of the research is to achieve a common understanding of the painter and architect of Iranian traditional architectural space. Therefore, two artists who focused on the representation and interpretation of traditional architecture in their works and are considered as pioneers in this area are selected. To this   end, three main categories have been examined: 
• The examination of the representation of traditional architecture and its concept in the paintings of Parviz Kalantari
• The examination of the representation of traditional architecture and its concept in the paintings of Seyed Hadi Mirmiran
• The examination of “the relationship and the link of painting and architecture spaces” in the works of these two contemporary artist
This research utilized a perceptual and philosophical approach to study the space, in which the term “space” is used as the equivalent of “quality”, “expression” or “space impact”. The paper is based on a comparative study and a formal and iconographic, commentary analysis. In terms of artworks, the iconographic approach focuses on the meaning of the subject. It can be said that iconographic research focuses on content rather than form. The method has been arranged so that the influential factors on the formation of the space in selected paintings and architectures is examined and analyzed. Finally, the common features of Iranian traditional spaces representation will be expressed in the works of the mentioned artists. Comparative analysis of spaces in other Iranian arts in order to gain a better understanding and providing a more accurate picture of space perception in contemporary Iranian art is suggested for future research.

کلیدواژه‌ها [English]

  • Iranian Contemporary Architecture
  • Iranian Contemporary Painting
  • Space
  • Parviz Kalantari
  • Seyyed Hadi Mirmiran

Adams, L.S. (1996). The Methodologies of Art: An Introduction. Tehran, Iran: NAZAR Publications.

Ardalan, N. (2001). The Sense of Unity: The Sufi Tradition in Persian Architecture. Isfahan, Iran: KHAK Publications.

Bani Masoud, A. (2009). Contemporary Architecture of Iran. Tehran, Iran: Honare Memari Gharn Publication.

Eghbali, R. (1999). Contemporary Architectural Identity, Comparative Study of Theories and Experiences. Architecture Phd. Thesis, Science & Research Branch, Islamic Azad University.

Foroutan, M. (2009). Architectural Language of Persian Paintings (Survey of Persian Paintings as Historical Documents of Iranian Islamic Architecture). Architecture Phd. Thesis, science & Research Branch, Islamic Azad University.

Foroutan, M. (2005). Iranian Painters Understanding of the Structure of Architectural Space. KHIAL, (13), 70.

Ghobadian, V. (2013). Theories and Styles in Contemporary Iranian Architecture. Tehran, Iran: ELME-MEMAR Publications. 

Gardner, H. (2006). Art through the Age. Tehran, Iran: NEGAH Publications.

Giedion, Z. (2007). Space, Time and Architecture: The Growth of a New Tradition. Tehran, Iran: ELMI-FARHANGI Publications.

Hojjat, M. (1998). Space. REVAGH, (10), 17-27.

Kabir, A., Hekmati, SH. (1999). Perception of Space. Tehran, Iran: Cultural Heritage Organization Publications.

Kalantari, P. (2003). Eyes the Transmute Earth in Gold a Selection of Paintings. Tehran, Iran: Zarin & Simin Publications.

Lynton, N. (2004). The Story of Modern Art. Tehran, Iran: NEY Publications.

Mozayani, M. (2009). of Time and Architecture. Tehran, Iran: SHAHIDI Publications.

Mostaghni, A. (2005). In the Context of Human Self-discovery Space. ABADI, (48), 90-94.

Maleki, T., Maleki, M. (2012). This Branch is Mine. Tehran, Iran: PEIKARE Publications.

Norberg-shulz, Ch. (2010). Genius Loci: Towards A Phenomenology of Architecture. Tehran, Iran: ROKHDADE-NO Publications.

Pakbaz, R. (2009). Iran Paintings from Ancient Times until Today. Tehran, Iran: Zarin & Simin Publications.

Rahnavard, Z. (1999). The Islamic Art Wisdom. Tehran, Iran: SAMT Publications.

Sohangir, S., Borazjani, V. (2012). Comparative Study of Conceptual Links between Space and Architecture in Pre-Modern Music, and Then in the West. BAGHE-NAZAR, (23), 33-46.

Sedighian, R. (1975). Special Aesthetics of Shadows. RASTAKHIZ Newspaper, (253), 6.