كليدواژه :
هنر دورۀ قاجار , نقاشي سوريه , توفيق طارق , ملي گرايي , هنر مدرن سوريه
چكيده فارسي :
هنر به عنوان عرصه‌اي كه جلوه‌گاه تكاپوهاي روح بشر و دغدغه‌هاي انساني او محسوب مي شود، بَرهَم‌كنش و ارتباطي دوسويه با اوضاع سياسي، اجتماعي و فرهنگي جامعه دارد. هنر نقاشي سوريه نيز متأثر از رويدادهاي فرهنگي در مسير شكل گيري خود در ادامۀ سبك عثماني، ابتدا تجربيات هنر مدرن غربي را مي آزمايد، سپس آموخته هاي خود را مي پرورد و در تلاش براي ارائۀ رويكردها و باورهاي خويش در جهان هنر، قدم برمي دارد. حس عقب ماندگي در ميان روشنفكران و هنرمندان سوري، آنان را متوجه غرب مي كند و برخي با تحصيل در دانشگاه هاي اروپا با شيوۀ مدرن غربي آشنا مي شوند و در تلاش براي معرفي و كاربردي نمودن آن در جامعۀ سوريه برمي آيند. در اين ميان، همزمان با اينكه سوريه تحت قيموميت فرانسه بود، روحيۀ استقلال طلبي برخي هنرمندان دهه هاي نخستين پس از جنگ جهاني اول به اوج رسيد و در جستجوي هويت تاريخي، در آثار نقاشي، بارقه هاي ملي گرايانه تجلي يافت. توفيق طارق، به عنوان شناخته شده ترين هنرمند دهه هاي آغازين شكل گيري سوريه، به عنوان كشوري مستقل، با تربيت خانوادگي نظامي، حس وطن دوستي، با پيشينۀ عضويت در حزب مليگراي تركيه و دانشي از هنر مدرن غرب، از فرانسه به سوريه باز ميگردد و به عنوان يكي از مؤثرترين هنرمندان نسل رُوّاد، با تكيه بر تكنيك هاي هنري غرب، تعهد و تعصب خود به عربيّت و مليّت سوري را در نقاشي هاي خود به منصۀ ظهور مي رساند. علاقۀ وافر او به تاريخ و كسب دانش درحوزۀ مرمت آثار تاريخي، موجب مي شود تا ابتدا به مرمت آثار تاريخي بپردازد كه همين امر در نقاشي هاي او از معماري و بناهاي تاريخي ومذهبي سوريه مؤثر مي افتد. سئوال اصلي اين تحقيق، اين است كه ملي گرايي در آثار نقاشي توفيق طارق با تكيه بر نمونه هاي پژوهش حاضر، چگونه تحقق يافته است؟ اين تحقيق بر آن است تا با شيوۀ توصيفي – تحليلي از ميان آثار در دسترس توفيق طارق، كه به صورت هدفمند انتخاب شده اند، همچون مجلس مأمون و ابوعبدالله صغير را بررسي و تحليل كند و با مروري بر نقش او در هنر معاصر سوريه، كه نشان از علاقۀ او به پيشينۀ عربي و تعصب او به سرزمين مادري دارد، گرايش او به ملي گرايي و تعهد به جامعۀ سوري را نتيجه گيري كند.
چكيده لاتين :
Art as an arena that is the manifestation of the endeavors of the human soul and its human concerns has a two-way interaction with the political, social and cultural conditions of the society. Syrian painting is also influenced by cultural events in its formation in continuation of the Ottoman style, which first tests the experiences of modern Western art, then cultivates what it has learned and tries to present its approaches and beliefs in the art world. The sense of backwardness among Syrian intellectuals and artists draws them to the West, some of whom have become acquainted with the modern Western style by studying in European universities and trying to introduce and apply it in the Syrian society. Meanwhile, the spirit of independence instilled in human nature has been fostered by some artists of the first decades after World War I, and under the control of the French guardianship, in search of their historical identity, appears nationalism in their paintings. Tawfiq Tariq, the most well-known artist of the early decades of Syria's formation as an independent state, returns to Syria from France with military family upbringing, patriotism, membership in the Turkish Nationalist Party and knowledge of modern Western art and as one of the pioneers of the Rawwad generation. Relying on the artistic techniques of the West, he shows his commitment and prejudice to the Arabs and the Syrian nation in his paintings. His great interest in history and gaining knowledge in the field of restoration of historical monuments, urged him to work as an architect and topographer after returning to Damascus and while he continued to paint all the time, he also participated in the restoration of several historical buildings in the city and restored them, which was effective in his paintings of the architecture of Syrian historical and religious buildings. The main question of this research is how nationalism is realized in Tawfiq Tariq's paintings based on the examples of the present study? With the establishment of the first modern educational institute of art, Tariq, in addition to creating his works, trains a generation to address his concerns in the field of Syrian art, which lead to a new approach to contemporary Syrian painting. Late art historians and critics have considered Tariq's works, like other Rawwad's works, often adapted and devoid of originality, and have written about them more ideologically or nationalistically. However, it can be argued that the paintings of this particular artist were created with very clear purposes and with a political and social commitment to the period and society in which he lived. While his paintings followed European patterns in style, the themes of Tariq's works were closely related to his support for national independence and his concern for contemporary issues in Arab and Syrian society. His works provide a framework for the artist's commitment to the changes he wished to see in his community and to use his art tirelessly in this direction. Even in Tariq's less "political" paintings, the emphasis on Arabic or Syrian identity remains central. This study aims to review Tariq's role in contemporary Syrian art and to examine and analyze some of his works such as Majlis Mamun and Abu Abdullah Saghir and even works that are apparently not political and historical and only illustrate natural landscapes, and show his tendency to nationalism and conclude his commitment to the Syrian community. This research intends to study and analyze some of his works, such as Majlis Mamun and Abu Abdullah Saghir, by means of descriptive analysis, and to demonstrate his inclination towards nationalism and his commitment to the Syrian society by reviewing his role in contemporary Syrian art, which shows his interest in the Arab background and his prejudice against his homeland.
