جریان شناسی مطالعات غرب دربارة هنر پساانقلاب ایران

نوع مقاله : مقاله پژوهشی

نویسنده

دکترای تاریخ تطبیقی و تحلیلی هنر اسلامی، استادیار، پژوهشگاه فرهنگ، هنر و ارتباطات، تهران، ایران

10.30480/vaa.2024.4777.1823

چکیده

انقلاب اسلامی سال 1357 نقطه عطفی در سیر تحولات و تطورات شاخه های گوناگون هنری ایران به شمار می آید. پس از انقلاب اسلامی، تمرکز مطالعات هنر ایران در غرب که عمدتاً متوجه دوران اسلامی و ایران باستان بود تا حدودی به هنر پساانقلاب معطوف گردید. مقاله حاضر ضمن واکاوی پژوهش هایی از کشورهای امریکا، انگلستان، فرانسه و آلمان دربارة هنرهای تجسمی پساانقلاب، جریان های اصلی در این مطالعات را شناسایی و بررسی نموده است. این پژوهش ها شامل مقالات، کتاب ها، رساله ها و پایان نامه هایی است که مؤلف آنها به نوعی وابسته به مراکز پژوهشی یا دانشگاهی یکی از چهار کشور مزبور باشد. تحقیق حاضر از لحاظ روش، توصیفی تحلیلی است و با شیوه فراترکیب، به واکاوی 50 نمونة در دسترس که به‌صورت هدفمند انتخاب شده اند پرداخته تا به این پرسش پاسخ دهد که جریان های غالب در این متون کدام اند؟ بر اساس یافته های پژوهش، در مطالعات صورت گرفته سه جریان عمدة «بررسی ابعاد و چالش های تجربة هنری در ایران پساانقلاب» (با تمرکز بر ساخت ارادی هویت و دغدغة معاصریت)، «ارزیابی تأثیرات نهادینه سازی در هنر پساانقلاب» (با تمرکز بر نهادینه سازی اجتماعی و فضای عمومی، و نهادینه سازی فرهنگی و جهانی سازی) و «واکاوی تجارب جنسیتی در هنر پساانقلاب» (با تمرکز بر کلیشه سازی حجاب و اعتباردهی به هنر مهاجران) شناسایی گردید. از دستاوردهای مطالعاتی نظیر پژوهش حاضر می توان در جهت تنظیم ساز و کارهای تولید و مصرف هنر، و همچنین اصلاح و تعدیل دیپلماسی های هنری و فرهنگی در هر دو عرصه ملی و جهانی بهره برد. 

کلیدواژه‌ها

موضوعات


عنوان مقاله [English]

Prominent Currents in Western Studies on Iran's Post-revolutionary Visual Arts

نویسنده [English]

  • Zahra Abdollah
Research Center For Culture, Art And Communications
چکیده [English]

The Islamic Revolution of 1979 counts as a turning point in artistic changes and developments in Iran. After the Islamic Revolution, Iranian art studies in the West which mainly focused on the Islamic era and ancient Persia, somehow changed direction to post-revolutionary art. This article investigates major currents in post-revolutionary Iranian visual art studies from the United States, the United Kingdom, France, and Germany. There is no comprehensive research in this direction, as the existing literature mainly concentrates on historical trends in contemporary art studies. The methodology of this research is descriptive-analytic. From about 3000 primary search titles in the field of studies, 50 selected texts (including book chapters, articles, and doctoral or master theses) are analyzed using meta-synthesis to find dominant currents in these texts. Among these, 26 texts are from the United States, 11 texts are from the United Kingdom, 3 texts are from Germany and 10 texts are from France.
To extract the necessary data, based on the meta-synthesis method, the keywords of the texts were identified and categorized in the form of subcategories. Then, by comparing and recategorizing the subcategories in more general formats, the final categories were extracted. By comparing the categories and their points of commonality and difference, the main themes were determined and in order to identify the main cirrents, the central topics raised in each theme were categorized and analyzed. To ensure the accuracy of the qualitative content analysis, these topics were matched with the theoretical literature used in the texts and the centrality of the selected topics was ensured. Finally, by categorizing the core topics under several general headings, the prominent currents were identified.
The prominent currents of Western texts on the post-revolution Iranian visual arts are all formed around the artistic experience in post-revolution Iran and the effects of ideological discourse, on one hand, and the discourse of domination, on the other hand, on it. The findings of this research reveal three major currents, including ‘Investigating the dimensions and challenges of artistic experience in post-revolutionary Iran’ (focusing on the conscious construction of identity and the contemporaneity concern), ‘evaluating the effects of institutionalization in post-revolutionary art’ (with a focus on social institutionalization and public space, and cultural institutionalization and globalization), and ‘analyzing gender experiences in post-revolutionary art’ (focusing on hijab stereotyping and validating immigrant or diaspora art). Due to the crucial role of cross-cultural exchanges in the delineation of strategic functions of art and the exigency of recognition of Western views to track these exchanges, the results of this research are significant for the art community as well as policymakers in the artistic arena. The achievements of studies such as the present research can be used to regulate the mechanisms of art production and consumption, as well as to modify and adjust artistic and cultural diplomacy in both national and global arenas.

کلیدواژه‌ها [English]

  • Iranian visual art
  • Post-revolutionary art
  • Research in art
  • Currents in Western art studies
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