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| تعداد مقالات | 67,685 |
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نمادشناسی حاکمیت عنصر بیگانه بر قوم ایرانی در نگارههایی از شاهنامهی شاه تهماسب با تکیه بر آراء کارل گوستاو یونگ | ||
| نشریه هنرهای زیبا: هنرهای تجسمی | ||
| مقاله 7، دوره 1، شماره 38 - شماره پیاپی 418145، تیر 1388، صفحه 77-86 اصل مقاله (1.93 M) | ||
| نویسنده | ||
| منیره حجتی سعیدی | ||
| دانشگاه الزهرا، کارشناس ارشد صنایع | ||
| چکیده | ||
| نماد نام یا نمایهای است که افزون بر معنای قراردادیاش دارای معانی متناقضی باشد و چیزی ناشناخته و گنگ را بنمایاند. برخی از نمادها از تجربیات شخصی فرد ناشی میشوند اما برخی دیگر در بین تمام انسانها در تمام دوران مشترکاند. از نظر کارل گوستاو یونگ این مفاهیم مشترک بین انسانها زادهی ناخودآگاه جمعی بشراست وکهنالگو نامیده میشود. در بسیاری موارد یک انگاره یا نمایه از ناخودآگاه به خودآگاه راه مییابد و هنرمند یا فیلسوف آنچه به خودآگاهش راه یافته را در قالب یک اثر هنری یا فلسفی ارایه میکند. در هنگام تحلیل چنین اثری است که آگاهی از کهنالگوها و ناخودآگاه جمعی مورد نظر یونگ مثمر ثمر واقع میگردد. نگارنده با تکیه بر چنین دیدگاهی نمادهای مربوط به حاکمیت عنصر بیگانه بر قوم ایرانی را در دو نگاره از شاهنامهی شاه تهماسب بررسی کردهاست. هر چند نمادهای موجود در اثر نگارگران این شاهنامه تا حدودی متأثر از نوشتار شاعر است اما نگارگر به عنوان هنرمندی مستقل، ردّی از نمادهای مورد نظر خود را در اثر به جا گذاشتهاست. هر دو هنرمند غلبهی بیگانه را امری مقطعی و گذرا دانستهاند و ظهور اسطورهی قهرمان و پیروزی هویت جمعی ایرانیان بر عنصر بیگانه را در اثر خویش نمادین ساختهاند. | ||
| کلیدواژه‌ها | ||
| آنیما؛ شاهنامهی شاه تهماسبی؛ کهن الگو؛ ناخودآگاه جمعی و فردی؛ نماد | ||
| عنوان مقاله [English] | ||
| Symbology of Goverment of Foreign Element on Iranian Nation in Some Sessions of Shah-Tahmasb's Shahnameh Based on Carl Gustave Jung's | ||
| نویسندگان [English] | ||
| Monireh Hojati Saidi | ||
| چکیده [English] | ||
| Symbol is a term. A term or an index which has some paradoxical meanings, in addition to its conventional meaning. Symbols are not innovated, they come from human's creative dreams and imaginations and they show unknown things.Old men didn't think about their symbols, they lived with them. So we, as interpreters of dreams, should pay attention not only to the symbol by itself, but also to the existential integrity of those people using it.In this regards, cultural symbols, which are used to define immortal truth, changed in the passage of time and in this process, they entered to the conscious part of the mind and finally they, in the shape of some indexes, were accepted by cultured societies. The value of these symbols lies in the power of them to guide us in the way of understanding the relationship of life's truths. Historically speaking, it was the study of dreams that enabled psychologists to consider unconscious aspects of conscious psychic events for the first time. Our dream's symbols are the messengers of instinct part of our brain to rational part and they are not independent of viewer's mental dreams. These symbols are the result of individual's personal experiences and the environment around him/her but some of these symbols are common among all people in all times, so in the study of symbols, it is necessary to be familiar with society and historical conditions of symbol maker. Based on Jung's psychology, similarities between today's human dreams with early human mental and group representations and myths themes, can be observed in these collective symbols. Jung called these common symbols, between early human and civilized human, as archetype and he said they are off springs of human collective unconscious. Many scientists, philosophers and artists owe some of their best sketches to inspiration which suddenly come out of unconscious and the genius is not anything but availability intelligence to rich roots of this essence and effective change of it to philosophy, literature, music or scientific discoveries. In these cases, a sketch or an index comes from unconscious to conscious and philosophers and artists represent what comes to their conscious part as an artistic or philosophical work. It is the awareness of these archetypes and common conscious, from Jung's point of view that can be used in interpretation and criticism of such works. The writer, based on this view, had studied the present symbol of some sketches of Shah Tahmasb' Shah Name. This work, following the book's themes- the Shah Name which has mythic themes – is full of symbols. Although the present symbols in the works of painters of this Shah Name was effected by poet's work and the writers' point of view affects painter 's point of view, but painter, as an independent artist, in the time different from poets' time, remained some of his desired symbols in the work and both artists had a perfectionist and sublime view to Iranian element and they call every aggressive movement as sectional and mortal. | ||
| کلیدواژه‌ها [English] | ||
| Anima, Archetype, Collective unconscious and individual unconscious, Shah-Tahmasb's Shahnameh., symbol | ||
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