Document Type : Original Article
Authors
1 PhD student in Art Research, Isfahan University of Arts
2 Assistant Professor of Art Research, Faculty of Theoretical Sciences and Higher Arts Studies
3 Department of Handicrafts, Faculty of handicrafts, University of Art of Isfahan, Isfahan, Iran
4 Associate Professor, Faculty of Literature and Humanities, Shahid Beheshti University, Tehran
Abstract
Pottery, which has a long-standing connection with the so-called "traditional" arts, has been re-read in the late Qajar and post-Qajar periods in the face of the dualities of art / industry and tradition / modernity. Contemporary in this period of Iranian history. In particular, the social and cultural contexts of this confrontation will be important in this regard and in order to study the discourse developments of contemporary pottery, the following questions are raised: What is the meaning of "contemporary" pottery? What are the influential discourses on "contemporary pottery"? What works did Iranian pottery artists create under "being contemporary"? The present study is based on the critical discourse analysis approach and the Laclau and Moff method. The results show that pottery artists have presented their experiences under the concept of being contemporary in the context of three influential discourses on contemporary pottery. These discourses, which themselves have had different reactions to the tradition, have led to the formation and, somewhere, support for various types of pottery in the context of the hundred-year-old developments in Iranian history. Among them, we can mention the discourse of "heritage and preservation of tradition", which in the first and second Pahlavi period with the central sign of "originality" emphasized the significance, continuity and continuity of national culture and by articulating the signs of local and indigenous Iranian culture, folk art and Historical and Ancient Traditions and Emphasis on the Creation of Historical Monuments He considered tradition as a source of identity construction and historical storage of national identity, and with the support of local and rural pottery, introduced it as a national art. Pottery continued in the discourse of heritage in the years after the revolution and was considered as a part of heritage arts with traditional meanings following its applications. Also, the discourse of "modernism and neocentrism", which was formed in the second Pahlavi period and after the revolution with the central sign of connection and combination of tradition and modernity, with emphasis on harmonizing, connecting and accompanying the signs of traditional and religious culture with the signs and formalism of modern art. It provided the basis for the creation of works with political and social functions. The discourse of "contemporaneity and deconstruction of tradition" in the 1380s and 1390s, by inverting and dismantling the system of signs of tradition, provided the conditions for the entry of pottery into the field of trans-media media. . Thus, the works presented in this discourse, by adopting a postmodernist approach to tradition, sought to disguise the hidden decentralization in traditionalism and to dismantle traditional political systems and culture in order to expose the ideological functions of tradition in the new age. The platform for presenting works of this type has been national exhibitions and biennials of pottery.
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