نقش گفتمان هاي سياسي در شكل گيري هنر عمومي: مطالعه موردي نقاشي هاي ديواري دهه 1360

The Role of Political Discourses in Formation of Public Art: A Case Study of 1980’s Murals in Iran

هنر عمومي هنري مبتني بر رويدادها و زيست   مشترك است. جهان زيست  مشترك مبتني بر توافق ها، آرزوها و خواسته هاي مشترك است كه در متن سياست شكل مي گيرد. از همين  رو هنر عمومي همواره در پيوند با سياست است. هم چون هنر عمومي در ايران؛ به ويژه در مقطع انقلاب اسلامي كه هنر با وفاق انقلابي هم سو شد. نقاشي ديواري بر آمده از شرايط انقلاب و زبان بصري انقلاب بود كه در دهه هاي بعد نيز تداوم يافت. البته با تحولات سياسي دهه هاي بعد نقاشي ديواري نيز تغيير فرم و مضمون داشت. در پژوهش حاضر به اين تغييرات و تحولات پرداخته شده تا اين هدف دنبال گردد كه چگونه نقاشي ديواري به جلوه بصري گفتمان هاي سياسي و نظام قدرت تبديل شد. به ويژه بر نقاشي ديواري دهه 1360 تمركز خواهد شد، چرا كه ميراث آن در دهه هاي بعد مورد تأكيد سياستگذاران فرهنگي كشور قرار گرفت. لذا پرسش مركزي پژوهش اين است كه زمينه، علت و بستر شكل گيري نقاشي ديواري در اين دهه چه بود؟ روش شناسي مقاله حاضر براي پاسخ به اين پرسش كيفي و برپايه رويكرد زمينه اي (گراندد تئوري) است. روند پژوهش حاضر بر اساس مستندات، گفتگوها و مشاهدات براي شرح مدل پارادايمي (شرايط علّي، مداخله گر، راهبرد، پيامد و زمينه‌) ظهور پديده نقاشي ديواري است. نتايج نشان داد كه چگونه گفتمان منزه سازي دهه 1360 توليدكننده نوعي از هنر عمومي با نشانه هاي پايداري ارزش ها، وحدت بخشي سياسي و انسجام اخلاق جمعي را شكل داد. هنري كه مي توان آن را هنر مكتبي توصيف كرد كه شامل تصويري از تفكر شعيه در ديوارنگاري، پيام ها و تفسيرهاي سياسي و مضامين وحدت بخش بود.

Cultural policymakers invite artists from the studio to the public space to make art public. But their selection from works of art is often politically motivated. Public art is linked to politics. Especially at important durations such as revolutionary events. In Iran, too, the Islamic Revolution had a profound effect on the meaning of public art, or art that can (or should) become public. After the revolution, some works of art were removed from the public space and replaced, and new works of art were displayed as memorials and murals. Artistic monuments are in line with political goals and reproduce political discourse. During the revolution, many artists became line up with this popular movement. Of course, just as in the years after the victory of the revolution there was a difference between the revolutionary forces with religious, liberal and Marxist tendencies, there was a difference of opinion in the definition of public art and art that should come to the public space. Just as religious forces overcame other revolutionary forces, religious arts with a religious orientation prevailed over other trends in the definition of public art. Public art in Iran was a revolutionary art that was influenced on the one hand by Marxist tendencies and Latin American art, and on the other hand by religious views. The mural was derived from the conditions of the revolution and the visual language of the revolution, which continued in the following decades. Of course, with the political developments, the form and theme of the mural also changed. The goal of this article is how murals have become a visual representation of political discourses and manifestation of the systems of power. This study focuses specifically on murals from the 1980s, as its legacy was emphasized by cultural policymakers in Iran in later decades. Therefore, the main question of this research is this, what was the cause and context of the formation of mural painting in this decade? The methodology of this article to answer this question is qualitative and based on a grounded approach (Grounded Theory). The trend study in this research is based on documents, conversations and observations to describe the paradigm model (causal, intervening, strategy, consequence and context) of the emergence of the mural phenomenon. The results showed how the purification discourse and Cultural cleansing produced a form of public art with signs of enduring values, political unity, and the cohesion of collective morality in the 1980s. This movement of art, which can be described as committed art and Maktabi Art, included a picture of Shiite thought in murals, political messages and manifestations, and unifying themes.