كليدواژه :
انديشه نگاري شاعرانگي , تجسمي , تصويرسازي معاصر ايران , فرزاد اديبي
چكيده فارسي :
انديشه‌نگارهاي شاعرانه در گرافيك، تحت تأثير هنرمدرن در دوره فوتوريسم و به وسيله شاعراني چون مارينتي حدود يكصدسال پيش شكل گرفت. مباني فكري اين شاعرانگي رهايي شاعران از قيد و بند‌هاي محدود و دست و پا گير، دستور زباني بود. اين شيوه بياني در عالم طراحي گرافيك در نيمه دوم سده 1900 ميلادي به گونه‌اي ديگر تداوم يافت. نمونه‌هايي از اين شاعرانگي درآثار برخي از طراحان معاصر ايران ديده شده، يكي از اين طراحان فرزاد اديبي است. وي تاكنون آثار مختلفي را طراحي كرده كه در اغلب آن‌ها به خصوص كارهاي متأخر وي، جوششي شاعرانه و درون‌‌نهاد‌ي به تناسب موضوع، جلوه مي‌كند، مسئله اصلي اين پژوهش، چيستي گرافيك شاعرانه و چگونگي و چرائي شكل‌گيري اين انديشه‌‌نگاري‌ها درآثار گرافيك اين طراح است. هدف اين تحقيق، توصيف انديشه نگاري‌هاي بصري فارسي در گرافيك ايراني و پيوند عميق گرافيك و ادبيات فاخر ايران است. رويكرد اين پژوهش كيفي است كه با تحليل محتوي بصري آثار گرافيك فرزاد اديبي، توصيف مي‌شود. براساس يافته‌هاي اين مقاله؛ انديشه نگاري‌هاي شاعرانه، يعني آثاري كه ايده اوليه آن‌ها شعر يا جمله ادبي است. دو مشخصه شاعرانگي در گرافيك، بيان كنايي و سيالي و رهايي فرم است كه در آثار اديبي اين موضوع به گونه‌اي در ساختار و درون مايه اثر رخ نمايي كرده است. اما چرايي شكل‌گيري اين شاعرانگي در آثار وي به ترتيب اولويت، آشنايي با زبان مبدأ (شعر) و نيز زبان مقصد(گرافيك)؛ بيان بصري نو در گرافيك ايران؛ چيزي كه اديبي آن را آشنايي‌زدايي ناميده؛ علاقه خاص وي به شعر؛ جنس سفارش‌ها كه با كار حرفه‌اي در مجله‌هاي ادبي همراه بود؛ موأنست با شاعران و نويسندگان، انباشت تجربه‌هاي بصري شاعرانه، جايگاه شعر و شاعرانگي در سپهر انديشه ايراني و در مواردي نيز براساس دغدغه‌هاي اجتماعي ايشان بوده است.
چكيده لاتين :
Poetic ideography in graphics was es tablished about a century ago under the influence of modern art common in the Futurism period by poets like Marinetti. The intellectual foundations of this poetical view were based on the poet’s liberation from the shackles and res traints of grammar. The visual poetical view was firs t popularized by poets. The product of this poetical view was typography. The poetical view essentially sought to convey the theme of the poem, which was conducted by types. Until the early 1900s, the alphabet letters were utilized only in the usual horizontal/vertical forms. Then, typography was employed in a different form. As Marinetti put it, someone who watched an explosion should have their words thrown at the audience while screaming. In the second half of the 1900s, this expression s tyle continued in some other way in the world of graphic design. This poetical view has been observed in the artworks of some contemporary Iranian designers, including Farzad Adibi. Farzad Adibi has continued to have such a poetical view in a continuous, sys tematic, and different way. His work identity is tied to this design s tyle. He began professional graphic design in the early 1990s. Since then, he has designed numerous artworks in various graphics branches, including “cultural” graphics. A place has been attached to the “writing” in Farzad Adibi, which goes beyond the conventional informational element. Adibi’s recent artworks are an amalgamation of visual poetical view and designer’s nom de plume. Among the characteris tics of his works of art are the designer’s specific identity and its national identity, the visual expression and the special technique used in mos t of his artworks, and a s table personal s tyle. Mos t recent Adibi artworks are manifes tations of poetic and intrinsic ebullition, proportionate to the theme. In light of the foregoing, the present s tudy seeks to answer the ques tion, “What is poetic graphics, and how and why did such poetic ideography take shape in the graphic works of this designer?”. This s tudy aims to describe Persian visual poetic ideography in Iranian graphics and express the deep links between Iranian graphics and fine literature. This s tudy uses a qualitative approach, described by the visual content analysis of Farzad Adibi’s graphic artworks.According to the findings, poetic ideography means works of art whose original idea was a poem or a literary expression. The two characteris tics of a poetical view in graphics are the ironic expression and the fluidity of/liberation from form, which somehow manifes ted in the s tructure and theme of Adibi’s works of art. In response to the ques tion as to why such a poetical view was formed in Adibi’s artworks, several reasons can be mentioned. These include his mas tery of the target language, i.e., poetry and the source language, i.e., graphics, a new visual expression in Iranian graphics (called defamiliarization by Adibi), his special interes t in poetry, the type of orders along with professional works in literary magazines, familiarity with poets and writers, the accumulation of poetic visual experiences, the place attached to poetry and poetical view in the sphere of Iranian thought, and in some cases, his social concerns, in order of priority.
