جستجوی مقالات مرتبط با کلیدواژه "پرویز تناولی" در نشریات گروه "هنر و معماری"

The Iranian famous artist Parviz Tanavoli in order to keep the name of his teacher alive has chosen Farhad Kohkan from Iranian literature as a subject for his sculptures. He has mixed the figure of Farhad with Saqakhane water taps, locks and windows of blessed places in his art works. In this way he connected thoughts and beliefs of a nation with his own taste. There is a mixture of intellectual approach and modern art devices which has also received the praise of traditional art fans. When facing these statues, a little proximity to the human body can be found. These sculptures are attributed to Farhad, due to the expression of the artist and the naming of the works. This research examines the differences and commonalities of Farhad's character in the Nizami story and Tanavoli sculptures. Analyzing the meanings in the hidden layers of Farhad's personality in Tanavoli's works is another goal of the research. The research questions are: 1. How can Farhad in Khamsa Nizami be interpreted as hypotext and Farhad in Tanavoli's works as hypertext and what are the points of commonality and difference between them? 2. To what extent has Tanavoli been faithful to Farhad's character in hypotext and what are the meanings and concepts of the artist's additions in Hypertext?This research is based on a descriptive-analytical method with a comparative approach. The method of analyzing works is qualitative. Parviz Tanavoli has 15 copper sculptures related to Farhad Kohkan, among which 9 works were selected as research samples in a non-probabilistic way.The results of the research show that the words Parviz and Bulbul have appeared in visual texts with clear verbal reference to the writing system. In the visual text, Farhad's character is referred to the verbal text with implicit references. In hypertextuality, the artist in the creation of Farhad's character has in all cases transformed, replaced and increased the proportion of hypotext. Due to the transformation and change of nature combined with the humor of street market, Farhad's character transformation in the form of travestissement is observed. The artist has tried to use the content of the verbal narrative to create a new narrative based on their mental desire in hypertext. The titles chosen for works such as paratextuality have increased the connection between hypotext and hypertext and directs the perception of Farhad Kohkan's character in hypertext by the readers. The author of hypertext did not limit himself to the general theme of the verbal text, he tried to deal with the character of Farhad with a different approach in the content. Therefore, the relationship between verbal text and visual texts based on derivation with transformation, increase and substitution, has led to the expansion of internal elements in the form of travestissement and charge in the text.

Parviz Tanavoli is one of the most prominent Iranian sculptor artists and one of the founders of the Saqqakhaneh movement. He is the creator of many works of art inside and outside Iran, especially in the field of sculpture, which the study of these works reveals his preoccupation with traditional Iran. This study intends to provide an interdisciplinary reading of Parviz Tanavoli’s volumes with the psychological approach of Charles Mauron and to identify the hidden and unstudied layers of his works and, more importantly, to recognize his “personal myth”. His works, as a leading and creative artist, should have been criticized psychologically. Psychocritique is based on the knowledge of psychology and the basic principles of this knowledge and among the various streams of psychology, it is the most follower of Freudianism. Accordingly, it emphasizes on individual and personal unconscious pronouns. One of the most important figures of psychological criticism is Charles Mauron, who, as one of the founders of psychocritique criticism, identifies and introduces four stages for the study of art and literary works. The first step is to identify imaginary image networks: by collecting and studying all of the works of an artist, the formal networks of that artist are identified. At this stage, the critic seeks to identify the common elements of an artist’s works and extract their repetitive forms into research. The second step is to identify dramatic situations: networks of imaginary images lead the critic to some still images in the artist’s work. Images that manifest themselves in different forms and in different texts. The third step is to identify the author’s “personal myth”: by putting together these still images, the face of a large, hidden image that sometimes manifests itself is formed, which is the artist’s “personal myth.” In order to determine the personal mythology of each artist, one must refer to the mythology of the artist’s own culture, and from the set of myths in each artist’s culture, it is merely one of his personal mythology. The last step is to assess the authenticity of the “personal myth” with the study of the artist’s biography: Finally, to be more confident about the result of the criticism, the results obtained from the previous stages are matched with the artist’s biography. Mauron means more of his professional life than the artist’s life. My subscription chapter is social and I am creative and I am unaware that any artist in a professional life can be scouted, not in his personal life. With this approach in this paper, the question is, what effect does the artist’s mentality have on the dominant choice and content of his works? Is the artist directed towards his inner and unconscious consciousness with personal awareness? To answer these questions, the first part of the article first examines Charles Mauron’s psychometric approach and the four stages of his theory that lead to the discovery of the artist’s personal myth. In the second part of the article, using Mauron’s four steps, Tanavoli sculptures are reviewed step by step in order to achieve his personal myth. The present study is an interdisciplinary study and has used the “case study” method to analyze and understand the data. Case study is one of the most common qualitative research methods and has been conducted using documentary and library studies. Since the works of Tanavoli are very numerous and scattered in museums and public and private collections; Therefore, the authors’ priority has been to select works from books written by the artist himself. However, according to the theoretical framework of the research, all the works of the artist should be studied; But this was practically not possible due to the myriad and scattered statistical population of Tanavoli works. On the other hand, according to the second step of theoretical foundations, the critic seeks to find common metaphors of the artist’s works, so the authors have chosen repetitive themes and elements from among the diverse and numerous works of the artist; After collecting and filing the information, they organized the data to answer the research question. In addition to retrieving Tanavoli’s personal myth, this reading reveals the possibility of better understanding the works and the artist’s hidden view of the world around him and the unconscious pronoun affecting the creation of his works, an unconscious that indicates the artist’s belonging and inner searches to the indigenous and national roots, as well as the depth of the artist’s inner conversation with himself.