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نشان از بی نشانی پژوهشی در اندیشه و نقاشی چینی به بهانه ی آثار پاتا شان جن | ||
| نشریه هنرهای زیبا: هنرهای تجسمی | ||
| مقاله 5، دوره 2، شماره 44 - شماره پیاپی 569283، مهر 1390، صفحه 41-50 اصل مقاله (2.13 M) | ||
| نویسنده | ||
| منصور حسامی | ||
| استادیارگروه نقاشی، دانشکده هنر، دانشگاه الزهرا | ||
| چکیده | ||
| "پاتاشان جن" (1705 – 1625) هنرمندی چینی است که او را همتراز نقاشان سبک اکسپرسیونیسم دانسته اند. او به خود اسامی متعددی داده، لیکن پاتاشان جن نامی است که او ازدوران وابستگی تائویستی خود طی سال 1689 بکار می برده است. در میان آثار او برخی از زیباترین واعجاب آورترین نقاشی ها رقم خورده اند. تقریبا" تمامی آثار این هنرمند به صورت مطالعه ی طرح گونه از گل، پرندگان چابک، ماهی های پرحالت وصخره ها انجام شده است. موجودات تصویر شده توسط او در خلاصه ترین حالت با ضربه قلم های سریع مرکب تیره درفضاهای تهی، بیان جامعی از زندگی ارایه داده اند. او کمتر به منظره پرداخته لیکن ضخره های او حالتی جاندار را تداعی می کند. او از نظر زمانی در سده ی هفدهم میلادی میزیسته و لذا دودمان مینگ بر سر قدرت بوده است. مقاله ی پیش رو، حاصل تحقیقی درباره ی این هنرمند است که بر زندگی پر از ابهام وی نوری هرچند اندک، می افکند. پرسش آن است که هنرمند مورد بحث را چگونه می توان در سبک شناسی نقاشی چینی جایابی نمود و دیگر آنکه، بیان اندیشه ی پرمغزشرقی، با هنر نقاشی چینی و به ویژه در شیوه ی پاتا شان جن به چه شکل صورت پذیرفته است. | ||
| کلیدواژه‌ها | ||
| اندیشه شرقی؛ پاتاشان جن؛ نقاشی چینی؛ هنر شرق دور | ||
| عنوان مقاله [English] | ||
| The Art of Expressing Inexpressiveness; An Analytic Survey of Chinese Thought & Art based on Bada Shanren Paintings | ||
| نویسندگان [English] | ||
| Mansour Hessami | ||
| چکیده [English] | ||
| The fundamental doctrine of Eastern culture is based on the ethics. This is a thought found in every, even tiny, lesson taught to the children. In fact, all the values are takes from the life, even apparently materialistic but spiritual deep inside. Here, in order to exalt the soul and to fulfill the valuable status an endless effort of the man is taken in his life. Therefore, no boundary can be traced between the criteria of this or that world. Actually, the union of the two is the essence of the thought in which the man is assisted to gain the knowledge of the life in accordance, and not contrary, to the nature. The eternal search of the scholar turns into a never-ending training inside. In other words, as long as he is being educated and therefore he is gaining the spiritual level he is parted from the carnality and closer to the moral elevation. The Chinese artist is not normally a professional as it is in the western art. He is a scholar whose job is to work as an official serving the State. One of his requirements, apart from being literate, is to be able to understand the literature especially the poetics which might be the reason through which Chinese scholars would become poets afterwards. Their occupation forced them to deepen the thought and the philosophy beside the arts and especially the painting presented many Chinese scholars through the long history of this civilization. Chu Ta or Pa-ta Shan-jen (1625-1705) is known as a Chinese expressionist. He gave himself many names among which Bada Shanren is more accepted recently. He loved company and drink and seemed to have many friends. In his later years, his well known eccentricities bordered on madness. People who wanted his works plied him with wine until he was completely drunk, and were rewarded with some of the most joyous and startling pictures in the history of Chinese painting. Nearly all works of him are swiftly studies of flowers, angry little birds, or fishlike rocks. Poised in empty space, and drawn with the fewest possible strokes in dark, rich ink, his small, lively creatures capture the very essence of living nature. Even his rocks seem to be alive. Occasionally he painted landscapes, beneath whose cryptic, abstract forms lies a deep feeling for the monumental compositions of the Northern Sung Dynasty. This article presents a study of the painter’s life through which the analysis of his works seemed necessary and to familiarize the reader with eastern and more precisely Chinese visual arts an overall view of this culture has been schemed in brief. The methodology of this research executed through library works and the majority of analysis on the artist's paintings is done in a descriptive way. The methodology of this research executed through library works and the majority of analysis on the artist's paintings is done in a descriptive way. | ||
| کلیدواژه‌ها [English] | ||
| Chinese Painting, Chu Ta, Far Eastern Thoughts, Sung Dynasty | ||
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