ÇAĞDAŞ DÖNEM İRAN GÖRSEL SANATI VE SANATÇILARI ÜZERİNE BİR DEĞERLENDİRME

Özet

Değerlendirme" isimli bu makale"; siyasî ve içtimaî alanlardaki büyük olaylar da dikkate alınarak tarihsel sınırlarının çizildiği bazı evrelerde, İran görsel sanatında ne gibi değişikliklerin yaşandığı ele alınıp neticede bu sanat sahasının günümüzde nasıl bir yola girdiği incelenmiştir. İncelemeler sonucunda anlaşılmıştır ki, son 38 yıl öncesinde İran, sanat sahasında kuvvetli bir Batı tesiri altında kalmıştır. İran İslâm Devrimi (1978) ile başlattığımız son 38 yılda ise, sanat çevrelerinde söz konusu bu Batı tesirine karşı birtakım tepkiler ortaya çıkmıştır. Bu tepkileri; Batı sanatının göz ardı edilerek millî veya yerel bir sanatın kabul edilmesi gerektiğinin savunulduğu Direniş, hem Batı sanatındaki üslupların hem de millî sanat geleneklerinin benimsenip bunların dengeli bir şekilde eserlerde yansıtılmasının gerektiğinin savunulduğu Karışım ve neticede postmodern sanat dediğimiz Batı sanatının tamamen kabul edildiği Kabullenme olarak sıralayabiliriz.Post-modern yani çağdaş sanat algısı oluşturulurken, aslında Batının bizlere kabul ettirmeye çalıştığı, bu sanat çerçevesinde Dünyadaki hemen her kültüre ait unsurların yer alacağı idi. Yani oluşan bu yeni sanat küresel bir sanattır. Ancak incelemelerimiz sonrasında görülmüştür ki; post-modern ya da çağdaş sanat dediğimiz bu yeni sanat, gerçek anlamda küresel bir sanat değildir.Postmodern sanat veya diğer bir ifadeyle küresel sanat aslında Batı sanatının ön plana çıkarılıp dünyadaki diğer bölgelerde hâkim kılınmaya çalışıldığı sanattır

Abstract

This article entitled "An Evaluation Of Iran's Visual Art And Iranian Artists On Modern Stage "; by considering major events in political and social fields, deals with Irans’ visual art’s modification in some phases which drawn by historical borders, and investigates the way that art sets improve at the present time. According to the result, in last 38 years, art sets in Iran, acutely is impressed by West. Beginning from last 38 years of Islamic Revolution of Iran (1978) between different fields of art, certain reactions has arisen against western influence. These reactions can be categorized as Resistance through which it is supported that a national or local art should be accepted Composition by neglecting through which it is supported that both the styles in Western art and the traditions in the national art should be adapted and these should be reflected in the works in a balanced manner and eventually Accept that Western art which we call as postmodern art is completely accepted. While creating post-modern art perception, in fact it was something in framework of what western art tried to apply every culture in the world. It means that created art was a new global art. But after investigation has been seen that post-modern art that is a new kind of art, actually is not a global one. Postmodern art or in other words global art is the art in which Western art is actually brought into the forefront and it is made dominant in other parts of the world Purpose of the study: In this study by considering social and political events of some sketched historical boundaries, Iran's visual are changes were token in hand and after all the amount of performing art's current improvement was examined. While examining this issue, three artists's generations after Islamic revolution of Iran and their works of art were taken into consideration, were compared, and some information about them were cleared up. At the heart of this purpose following questions will be answered: 1- How did Iran's modern art come to light? By Which factors it has affected and created? 2- what is the reaction of western art against creation of Iran' s modern art? And which alterations happened on the phases of reaction to this field of art? 3- How was the intellection of visual art before Iran's current art? Which artist created their works around this are intellection? 4- what were the properties of art works before appearance of Iran's current art?5- who are the artists that created their works in frame of Iran's post-modern visual art? 6- What are the differences between previous works and current works of art? Method: The purpose is to investigate the mentioned subjects in detail. Also, studies has done in Iranian libraries, art museums, and galeries. Especially, the studies has done in Tehran Post-Modern Museum and the pictures in its archive, and also,Tehran, and Modarres Universities' libraries. As the last stage, firstly gained material transferred into card index of data. Since most of derived information are in the Persian language, article was written in Persian language at first, then it was translated to Turkish. Firstly, pictures from artists' special picture collection, and Iran's formal photo galleries were gathered as a catalogue and were consequently used in proper parts of the study. Findings: As the result of studies it can be understood that; priorly western types had a strong effect on visual effect on visual art of Islamic Republic of Iran (1978). In spite of continuing this effect after revolution, some of the artists showed reactions against that. Resistance is one of these reactions. Generally, in this period, artists aspired to a national genre against western effects. Second reaction had a mixed situation. In that period, artists created national genre of art persuasion and western genre at the same time. At last adoption period of reaction, it has seen that artists mostly accepted post-modern genre of western art. Social subjects in pictures of resistance stage revealed and cultivated in in realism genre, however in mixed stage traditional motifs trimmed in modern genre. There were cognitive points in pictures of adoption stage and use of digital tools with media came to the forefront. Discussion and suggestions: According to the researches that have done on stage of art, Iranian artists showed several reactions against western effect on art stages in different phases after Islamic revolution of Iran. In fact, one of the most important hypothesis suggested in this study is the reactions and important changes of Iranian art stages. By trying to prove the existence of this situation with a few social, historical, and art data, as a result the artists of new stage and their works was examined and elucidated. While creating post-modern art perception, in fact it was something in framework of what western art tried to apply every culture in the world. It means that created art was a new global art. But after investigation has been seen that post-modern art that is a new kind of art, actually is not a global one. By considering middle eastern countries and examining their art stages and also reviving new generated art properties, this aspect has been studied in detain by Mohammad Reza Moradi. MOradi, in his studies concluded that the post modern art is not a global one, and it is the same as western art of last era. As a matter of fact, he basically resisted on middle eastern Islamic countries against the effect of western art, and by referring to the showing up of reactions as mixed and adoption, western art in adoption stage no longer remarked as sovereign. Generally, the inspiration reference of this article, Moradi, clarifies the effect of western art on art stages of middle eastern Islamic countries Because in his hypothesis about art of middle- eastern countries, art stages of Iran as a sample country has propounded more comprehensively. Consequently, in consideration of references actualising hypot