كليدواژه :
نقاشي , نگاه , ادراك بصري , مرلوپونتي , بدن زيسته
چكيده فارسي :
نگاه، مجراي رويارويي هنرمند نقاش و نيز مخاطب اثر نقاشي با آن است. اين مواجهه، نوعي تجربه ي انساني است كه از منظر هنرمند نقاش به هنگام خلق اثر، همچنين از وراي مخاطب در زمان نگريستن به نقاشي قابل بررسي است. سؤال اصلي در اين پژوهش، اين گونه مطرح شده است كه نسبت نگاه با تجربه ي زيسته ي هنرمند نقاش، نيز درگيري آن با بدن زيسته ي مخاطب و خالق اثر در ادراك نقاشي چگونه است؟ بر همين اساس ماهيت آن، به عنوان نوعي از تجربه ي زيسته كه رخدادش منتج به ادراك بصري و به طور خاص دريافت اثر نقاشي است، مطرح گرديده است و در باب بدن زيسته نيز، نگاه به عنوان جزء ساكن در آن، مورد تحليل و تأمل قرار گرفته است. در نهايت با استفاده از رويكرد پديدارشناسي، به شيوه ي توصيفي- تحليلي و بر اساس شواهد موجود در آراء و نظريات فيلسوف پديدارشناس فرانسوي، موريس مرلوپونتي، وجود ارتباط نزديك بين تجربه ي زيسته ي هنرمند نقاش و نگاه او نتيجه گيري شده است. بر اساس يافته هاي اين پژوهش بايد گفت، نگاه، نوعي از تجربه ي زيسته بوده است و به هنگام مواجهه ي مخاطب با اثر نقاشي، بدن زيسته ي او را درگير مي سازد؛ لذا به عنوان جزئي از آن، در بدن زيسته سكنا خواهد داشت.
چكيده لاتين :
The Look, in the close meaning, is the channel of the encounter or the gateway of confrontation for an artist such as a painter and the audience or the viewer of the art work to a painting work, which can be viewed definitely as an especial human experience, from the view point of the painter or the artist during the whole process of the creation and making an art work such as the painting work, as well as from the view point of the audience of the art work or the painting at the definite moment of the looking or the gazing at the painting work. The main and the typical chief question about the Look in the painting, which would be supposed to be answered as well, closely regards to the output results which would be come from this recent study had been completely about the close and direct correlation between the Look in the painting and the Lived or the Living Experience of the painter or an artist(as an human being) as well as his or her involvement with the Lived or the Living Body of the audience or the viewer of the art work such as a painting, so as the painter or the artist, who is the creator of the art work as well, in the act of the painting work perception or the reception from the painting work. According to this fine point of view towards the nature of the Look in the painting, it had been also described specifically as a kind of Lived or the Living Experience, which would be eventually resulted in the Visual Perception, as well as specifically in the perception of the painting work. So that, totally it would be seen regards to the Lived or the Living Body, the Look in the painting as a stable component or part it, had been considered and analyzed. Regards to the Final outputs of this research, by the use of the phenomenological approach, in a definitely descriptive-analytical method and at last, based on the evidences which would be contained in such a famous French contemporary Phenomenologist Philosopher, Maurice Merleau Ponty's point of views, the existence of a close correlation between the Lived or Living Experience of the artist painter and his or her Look in the painting had been consequently deduced and shown. According to the recent study, it should be clearly said, the Look in the painting is a kind of Lived or the Living Experience for an human being, and when the audience of the art work, such as a painting, encounters closely with an art work or a typical painting work, the Look completely engages his or her Lived or the Living Body; So it could be derived from all of these points, that as a part of it, the Look at the painting should be lived and should be consequently resident in the Lived or the Living body.
