نوع مقاله : مقاله پژوهشی
نویسنده
استادیار، گروه معماری، دانشکده فنی و مهندسی، دانشگاه رازی، کرمانشاه، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسنده [English]
In today’s world, many artistic texts are produced with the appropriation approach and based on rereading the previous known works. Although these contemporary texts borrow the previous texts and provide a new reading of them, in fact they reproduce their society’s discourse, i.e. the contemporary discourse different from the past work’s discourse, hence creating a new meaning of the previous work in the framework of the contemporary discourse.
Accordingly, numerous texts have been created by Iranian and non-Iranian artists with appropriation of Iranian paintings, particularly from its peak period, i.e. the Timurid and Safavid eras (9th and 10th centuries). Kamāl ud-Dīn Behzād is the most well-known Iranian painter who lived in the Timurid and Safavid eras, with works extensively read in the past and today. Behzād is one of the few Iranian artists praised both during his life and after his death owing to the creation of pure and innovative paintings aligned with his society as well as his special view of the world around him.Looking at the same characteristic of Behzād, Soody Sharifi, a contemporary artist with many texts taken from Iranian paintings, has reread some of his paintings with a critical approach and accordingly discussed some socio-cultural issues in Iranians’ past and present history, two rereading works of Sharifi in the Maxiatures series are among which.
The present research is aimed at analyzing the discourse of Behzād’s Timurid paintings, Sharifi’s contemporary texts, and the link between them, as well as answering the questions below:
1. What discourse of their society do each of these paintings and texts reproduce?
2. What is the link between Behzād’s paintings and Sharifi’s texts based on their discourses and historical distance?
The research is conducted with a fundamental goal and by an analytical-comparative method. The hypertextual reading of paintings and texts is with the approach of Fairclough’s critical discourse analysis and based on an interdiscourse adaptation. The data and images of paintings and texts have been collected by taking notes from library and internet sources. Moreover, data analysis is qualitative.
Decoding and deeply understanding artworks, particularly those connected with each other, increase the necessity and importance of addressing these texts with a discourse approach, and achieving this goal depends on knowing the artistic traditions, society, history, and culture in which the artist lived and initiated creating art.
According to these research results, Sharifi has considered Behzād’s paintings as historical documents of the reality of Iranian’s past society and traditions, and in their appropriation, given her familiarity with their literary-artistic background, cultural-social context, and past traditions, she has paid attention to the paintings’ theme and content along with taking a formal structure with a cultural-critical approach. Through these appropriations, Sharifi has addressed the tension between old and new values or traditional Islamic society and modernity to challenge the Iranian contemporary Islamic culture in connection with the relationship between men and women, the women’s position, and the youth’s confusion.
کلیدواژهها [English]
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