خوانش آثار اقتباسي فرح اصولي با تكيه بر نظريه‌ ميمسيس آدورنو

Study of the Derivative Artworks of Farah Ossouli Based on Adorno’s Mimesis Theory

ميمسيس يكي از قديمي‌ترين و اصلي‌ترين اصطلاحات در تاريخ نقد ادبي و هنري است. افلاطون از آن به تقليد و ارسطو آن را بازنمايي دانسته كه با خلاقيت هنرمند همراه شده و كار بديعي را خلق مي‌كند. از منظر تئودور آدورنو(3691-3091) فيلسوف و جامعه‌شناس آلماني و از واضعان مكتب فرانكفورت، ميمسيس تقليد نيست بلكه آن را نوعي همانندسازي و شبيه‌شدن به نمونه‌ي اصلي مي‌داند كه به تعبيري با آن درمي‌آميزد. آدورنو با درهم ريختن معنا و كاربرد سنتي اين اصطلاح قصد دارد تا پويايي ميمسيس نشان دهد. ميمسيس در اين نظرگاه ويژگي‌هايي چون بيانگري، و خلاقيت هنري را هم با خود دارد. بسط اين نظريه در آثار نقاشي اقتباسي فرح اصولي(1332-) نقاش حال حاضر ايراني، موضوع اين پژوهش بوده كه با استفاده از روش توصيفي تحليلي و مشاهده‌ي آثار، صورت گرفته و تعداد 10 نمونه‌ به شيوه‌ي انتخابي از ميان آثار اقتباسي فرح اصولي گزينش شدند. پژوهش با هدف شناخت بيشتر هنر معاصر ايران، به دنبال پاسخگويي به اين پرسش است كه آيا آثار اقتباسي فرح اصولي در اين تعريف از ميمسيس جاي مي‌گيرند؟ با توجه به ديدگاه آدورنو درباره‌ي ميمسيس در اين پژوهش هفت شاخص و ويژگي ميمسيس؛ بيانگري، شبيه سازي، زبان جامعه، نشان دادن واقعيت، خلاقيت هنري، پيوند فرم و زبان، استخراج شد و براساس آنها آثار نقاشي اقتباسي فرح اصولي مورد بررسي قررار گرفت. نتايج بررسي و تحليل نشان مي‌دهد كه آثار اقتباسي فرح اصولي با ميمسيس آدورنو همپوشاني دارند.

One of the most unique phrases in literary and art criticism is mimesis. Mimesis, according to Plato, is manifested in ‘particulars’ that resemble or imitate the forms from which they are formed; consequently, the mimetic universe is intrinsically inferior since it is made up of imitations that will always be subordinate or subsidiary to their original. In contrast to Plato, Aristotle considers mimesis and mediation to be important expressions of our human experience in the universe - as ways of learning about nature that allow us to grow closer to the “real” through perceptual experience. Mimesis is linked to the imitation of (empirical and idealized) nature in 17th and early 18th century aesthetic ideals. Authors such as Walter Benjamin, Adorno, Girard, and Derrida defined mimetic activity as it relates to social practice and interpersonal relations rather than as a rational process of creating and producing models that emphasize the body, emotions, senses, and temporality in twentieth-century approaches to mimesis. Mimesis, according to Theodor Adorno (1903-1963), a German philosopher and sociologist from the Frankfurt school, is a form of simulation of the original pattern that mixes with it, rather than imitation. Adorno attempts to demonstrate the dynamics of mimesis by altering the standard meaning and use of the term. Mimesis, in his opinion, also includes expressiveness and artistic originality. This study examines the application of this theory to the paintings of Farah Ossouli (1932-), a contemporary Iranian painter. Even in compositions that reference iconic images by Frida Kahlo, Francisco Goya, and Pete, most of her derivative artworks in Wounded Virtue paintings feature passages from contemporary Iranian poets by Ahmad Shamloo or Forough Farrokhzad. Persian miniatures’ figurative, ornamental, and narrative styles offered her with expressive potential as well as a long history of exquisite beauty. She also liked the emotionless look of miniature figurines for her male and female heroines who were dealing with universal concerns. In Wounded Virtue, she chose great artists based on a topic she admired, then incorporated her own ideas and painting style. She also used calligraphy, Tazhib (decorative arts and book illuminations), and painting, all of which are traditional features of Persian miniatures. They are, however, filled with new aspects in Wounded Virtue, including current Farsi lyrics, Tazhib designs with weapons, and new painted themes. This descriptive-analytic search for further information about modern Persian painting aims to answer the question: Do Farah Ossouli’s works fall under Adorno’s notion of mimesis? In this study, seven qualities and characteristics of mimesis were extracted, based on Adorno’s definition of mimesis - expressiveness, simulation, the language of society, showing reality, creative inventiveness - and derivative paintings by Farah Ossouli were investigated. The findings reveal that Farah Ossouli’s works overlap with Adorno’s mimesis theory.