نسبت سنجي تاريخي خلاقيت مدرن با آثار هنرمندان معاصر ايران (مطالعه ي موردي آثار فرح اصولي، كوروش شيشه گران، محسن وزيري مقدم)

Historical Attribution of Modern Creativity with the Art Works of Iranian Contemporary Artists

تاريخ هنر، عاملي الهام بخش و انگيزه آفرين و موضوعي بنيادي در مطالعات پيرامون اصالت و خلاقيت هنري است. مقايسه ي مستندات تاريخ هنري با نحوه ي كار هنرمندان، داراي مباحث متنوع است؛ مانند توجه به سنت هاي تصويري گذشته براي ارائه ي اثر خلاق، اهميت طراحي و رنگ نسبت به يكديگر و رويكردهاي نو به متريال و رسانه هاي هنري. هدف اين پژوهش بررسي آثار هنرمندان، فرح اصولي در همسازنمودن كيفيت هاي تازه ي فرمي با سنت هاي بصري نگارگري ايراني در مجموعه ي فضيلت زخمي، كوروش شيشه گران در ارائه ي بيان نو از خط در مجموعه آثار خط خطي ها و محسن وزيري مقدم با ارائه ي نگاهي تازه نسبت به مواد كار و رسانه ي هنري در مجموعه نقاشي هاي شني مي باشند. روش اين تحقيق، كيفي و با رويكرد توصيفي -  تحليلي است. اين پژوهش در ابتدا نگاهي به پيشينه ي تاريخي مباحث فوق داشته و سپس به تشريح مجموعه هاي مورد بررسي هنرمندان مي پردازد. مطابق با داده هاي حاصل از اين پژوهش مي توان نتيجه گرفت، هنرمندان مذكور، با اتكا به پشتوانه ي دانشي خود از مباني هنر برآمده از منابع تاريخ هنري و انتخاب اصول سبكي، عناصر و متريال مناسب توانسته اند ارزش هاي جديدي را در رابطه با سنت تصويري هنر نقاشي ايران، خط و فرم در نقاشي، كشف و بيان انگيزه هاي تازه نسبت به ماده و رسانه ي هنري؛ مطرح سازند.

Art history is an inspirational and motivating factor and a fundamental issue in studies of artistic originality and creativity. The comparison of art history documents and the way artists work has variety of topics, such as attention to past visual traditions for the presentation of creative effects, the importance of drawing and color to each other and the approach to new tools. The purpose of this research is to investigate the effects of artists, Farah Ossouli in harmonizing the new Fermi qualities with the visual traditions of Iranian painting in the “Wounded Virtue” collection, Koorosh Shishegaran in presenting a new expression of the line in “Scribble lines” collection, Mohsen Vaziri Moghaddam by presenting a new look at art in collection of “the sand paintings”. The method of this research is qualitative and descriptive analytical approach. First looks at the historical background of the above issues and then introduces and describes the collections examined by the artists. It can be concluded, the artists relying on the knowledge of the foundations of art based on historical sources, each have by choosing or encounters unconsciously with principles, elements and materials, have new values in relation to the visual tradition of Iranian painting, the interaction of the line and form in painting, the discovery and expression of the new motives of art work. Each of these artists have their own distinctive style and expression method, but focuses on art history on this study exploring the varied style and diversity idea of artists and their artistic interactions alongside the components of the art history. Describing the multitude of attitudes toward the creative, the components of art history introduce the subject of creativity into a practical and executive dimension. Farah Ossouli in The Wounded Virtue collection, coordinates his own techniques with several style of different geography and periods of art history. In this collection technique and concept presenting new and contemporary style and form for traditions of painting in east and west for expression suffering of human in history duration. Koorosh Shishegaran in linear paintings collection represents the order of motifs and precise lines between consciousness and unconsciousness, and geometrical form between intuition and scientific logic. This style of drew separates the line form from its traditional definition and puts it in a new state and expression. The multifaceted constitution of line and design in this series is a continuation of the line in painting but offers a new impetus and look by coordinating Iranian visual tradition arts with contemporary art and expresses the esoteric and spiritual traits of contemporary objects and characters. Mohsen Vaziri Moghaddam in his sand paintings collection without the use of any brush or well-known painting tools presents his initial action and expression in the face of sand material as an impetus for an ancient sense of human creation and concept of presence; as such, the phenomenal of human body is highlighted in the painting and the lifeless of canvas and its existential dimensions are expanded to the artist’s sense of presence.