كليدواژه :
بازنمايي , پاپ آرت , بازتوليد , بودريار
چكيده فارسي :
«بازنمايي» يكي از مهمترين نظريه ها در باب ماهيت هنرها است. براساس اين نظريه كه شكل اوليه آن ذيل طرح پرسش از نسبت هنر با واقعيت در آثار افلاطون نمود يافته است، هر اثر هنري ناگزير محاكاتي از طبيعت است. پس از اختراع دوربين و امكان بازتوليد مكانيكي اين رويكرد با چالش جدي مواجه شد و سخن از تغيير ماهيت هنرها به ميان آمد. اين رخداد منجر به شكل گيري جنبش هايي در نقاشي مدرن شد كه از تصويركردن عناصر آشنا و شبيه سازي آنها اجتناب ورزيدند. با گسترش فن آوري هاي جديد بحران بازنمايي در عصر پست مدرن تشديد و منجر به طرح مباحثي پيرامون پايان نظام بازنمايي از سوي نظريه پردازي چون بودريار گرديد؛ ليكن برخلاف چنين جرياني واقعيت عيني با جنبش پاپ آرت دوباره به بوم نقاشي بازگشت، در نتيجه اين پرسش مطرح شد كه آيا پاپ آرت تبلور بازگشت نقاشي به سنت بازنمايانه خويش است؟ بر اين اساس، مقاله حاضر كه با استناد به منابع معتبر و به شيوه كيفي انجام گرفته، درصدد است تا با روش توصيفي-تحليلي ضمن تبيين انديشه هاي بودريار در باب پايان نظام بازنمايي نشان دهد، آنچه در زير متن سبك پاپ آرت جريان داشت، پذيرش ماهيت تكثيري و توليدي هنرها و جايگزيني منطق بازتوليد نشانه هاي واقعيت به جاي بازنمايي آن است.
چكيده لاتين :
Representation is a prominent theory about the essence
of art. Archaic forms of this theory could be traced
to Platonic texts concerning the relation of art to reality.
It might seem that any work of art would inevitably be
an imitation of nature. Despite its deficiency, this notion
has gradually become the dominant approach to read art,
nevertheless, by the invention of camera, the mechanical
reproduction of reality was made possible in modern
time and it challenged the old notion by transformation
of representative essence of art. The direct effect of this
crisis on painting, which had always been considered a
representational art, was its emancipation from the confines
of representing the material reality, since photography,
thanks to its mechanical nature, offered such realis
tic images of the material world that no painter could
compete with. As a result, pictorial imitation declined in
modernis t painting and exploring new ways of seeing the
world and revealing the authentic truth became the main
concern; something that lead modernis t painting to move
further away from representing tangible reality. This incident
resulted in modern painting’s refusal of representing
the objective reality and, moreover, the emergence of
new s tyles, which avoided any depiction or simulation
of familiar objects. Also the emergence of new printing
technologies like digital exacerbated the crisis of representation
in the age of pos tmodernism and caused the appearance
of challenging discourses like the idea of ending
of representation sys tem by Baudrillard. However,
in the very period where changing the representational
nature of the arts and abolishing the representational tradition
was under discussion, painting saw the formation
of the pop art movement, and the elements of concrete
reality returned to canvases through the works of such
artis ts as Jasper Johns and Warhol, which seemingly sugges
ted the return of painting to its representational tradition.
Therefore, the ques tion then arises, Could the Pop
art be the return of painting to its representative tradition?
Hence, this research used written and electronic sources,
analysis of qualitative data, and considered the Baudrillard’s
thoughts on the ending of representation sys tem
to demons trate how Pop art helped the subs titution of
the logic of reproducing the reality for representing it.
This research is premised on the idea that Pop art painting
uses the logic of reproducing the symbol of reality
foundation, and has no representative essence. Eventually,
the article will firs t address the change in the nature
of the arts in the modern era and then, by analyzing and
describing the views of Baudrillard on the end of the representational
tradition, explain how it was represented in
pop art. Finally, The current research showed that while
the movement chose concrete reality and familiar components
of everyday social life as its subject matter, it did
not aim by any means to reveal the true nature of things
to us; it replaced, in perfect agreement with the theoretical
discourse of the pos t-modern era, the representation
of reality with the reproduction of the mark of its essence
by recognizing the reproducible nature of the arts.
