كليدواژه :
پديدار شناسي , تصوير هنري , نقاشي معاصر , تصوير شعري
چكيده فارسي :
اين تحقيق به مطالعه پديدارشناسي تصوير هنري در نقاشي معاصر بر اساس نظريه تصوير شعري گاستون باشلار مي پردازد.
هدف پژوهش، تبيين پديدارشناسي تصوير هنري معاصر در آفرينش، وجود و تعالي آن است و مبتني بر سه محور مي باشد؛
نخست به آفرينش تصوير هنري، به عنوان تركيبي از عينيت و ذاتيت، مي پردازد. سپس تصوير هنري را كوششي براي
هستي شناسي مستقيم مي پندارد، سپس به بررسي وجود آن به عنوان كوششي براي پديدارشناسي روح مي پردازد.
نتايج بحث چنين است: 1. پيدايش تصوير هنري حاصل تبادل وظايف بين ماده و انديشه (عينيت و ذاتيت) است؛ يعني
پديدارگرايي و تصوير هنري معاصر، هم ذات پنداري بين تعبير و معنا است. 2. تصوير هنري معاصر، اتفاق لحظه اي و اوج
آ گاهي و كوشش در جهت هستي شناسي مستقيم است؛ مستقل از قانون عليت؛ ارتباط بين تصوير هنري جديد و صورت
مثالي ناخودآ گاه آن، علّي نيست؛ نه جايگزين ساده اي براي واقعيت عيني است و نه نماد آن؛ تصوير هنري تبيين مي كند،
زيرا بدون تاريخ است؛ اما نمادگرايي تأ كيد مي كند، زيرا مملو از تاريخ است. 3. نقاشي معاصر، بيش تر بر پديدارگرايي روح
تمركز مي كند تا بر پديدارگرايي عقل؛ زيرا ناخودآ گاه، منشأ آ گاهي و مقدم بر آ گاهي و نيز داراي ماهيتي پديدارشناختي است؛
يعني مادۀ اثر هنري در آن واحد همان علت مادي و صوري است.
چكيده لاتين :
This research studying the phenomenology of artistic image in the contemporary painting according to Gaston Bachelard's theory of poetic imagewhich is combines and identifies between the material and thought, consciousness and subconscious, assuming the existence of a correlation between the artistic and aesthetic production of contemporary painting and Bachelard's phenomenological poetic image. It aims to detect the phenomenology of artistic image in the contemporary painting and its dimensions in terms of: its creativity, its existence, and its sublimation. So that, and in order to achieve its goal, the research came on three sections: the first one dealt with the creativity of artistic image as a combination between objectivity and subjectivity and the resulting cooperation between realistic and unrealistic and with the help of their functions, while the second one took up its existence by considering itan intense moment of consciousnessand an attempt to direct Anthology, and the third one interested by studying its cosmic considering it phenomenology of spirit because it is both spirit and mind, material and thought, expression and form. The research found a set of results: 1-The artistic image generates as a result of the exchange of jobs between the matter and thinking; it is a combination between the objectivity and subjectivity (communication and estrangement); ie: phenomenological, and the artistic image in contemporary painting is an installation and similarity between the expression and meaning. 2-The artistic image is a phenomenon of isolation that carries the imagination. It must be imagined to know it; the imagined consciousness, which opens up to an isolated self-image, is a primal consciousness open to innumerable experiences; therefore, the artistic image is original. 3-The artistic image in the contemporary painting is a moment of intense consciousness; it is an attempt to direct anthology; because it is independent of causality. The relationship between the new artistic image and archetype in the depths of the unconsciousness is not causality; that is, it is not a simple alternative toa certain reality, which is not a symbol; as it turns out, the symbolism confirms; because it has history. 4-Art is not subject to the control of thought, it is a phenomenon of freedom belonging to the self, to the interrupted time of the matter (moment), not to the time of continuous thought (permanence), and tampering is the source of this freedom.5-The artistic image in contemporary painting is a synthesis between the soul and the mind; it is an idea when it acquires a cosmic value, and this cosmic image belongs to the isolated and solitary soul. It is a reality and phenomenon; therefore, we are accompanied by its phenomenology (its cosmic and its materialistic) towards an ethereal world, a spiritual world away from objective reality. 6-The contemporary painting is a phenomenology of the Spirit rather than a phenomenology of mind; because the unconsciousness is the origin of consciousness; this unconsciousness that precedes the consciousness has phenomenology nature; ie: the material of artwork is both material and formal cause at the same time (expression and shape).
