نوع مقاله : مقاله پژوهشی
1 کارشناسی ارشد، گروه آموزشی پژوهش هنر، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران.
2 دکتری تخصصی، گروه نقاشی، دانشکده هنر ومعماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران.
3 دکتری تخصصی، گروه نقاشی، دانشکده هنر و معماری، دانشگاه سیستان و بلوچستان، زاهدان، ایران.
عنوان مقاله [English]
Painting, as one of the highest examples of visual culture, has a powerful visual language, which both affects the narrative based on the literature of the work and bestows special capacities in visual and artistic expression. Iranian painting has emerged from literature, but has created its own unique reading of the narrative. The artist uses his arrangements to visually translate the literary narrative, and to place it in front of the audience, the visual reading relies on observation. Using the iconic Max Imdahl’s method, the narration of the work is suspended so that the main essence of the work and its meaning can be understood by observation. Hence, perception through the image is opposed to image awareness as a result of which the preconceptions about the image are suspended and the act of seeing is placed as the main element of receiving and creating meaning. The research in this research is based on descriptive-analytical method and data collection method, documentary libraries and internet survey. The findings of this study are based on the three principles of face structure analysis, scene arrangement and perspective projection resulting in subjective perceptions of objective reality, lack of perspective of the depicted world and design principles by the Iranian artist, an example of this mental worldview. In the scene makeup. For case study, three paintings "Killing Esfandiar Arjasb", "Yusuf and Zuleykha" and "Sama Dervish" have been selected.
1. An examination of Max Imdahl method in the interpretation of images.
2. An analysis on how to read the visual values of drawings according to Imdahl’s approach.
1. What is Max Imdahl's method in expressing the power of the image and its ability to read the work?
2. Based on Imdahl’s approach, how can the visual values of the drawings be compared to the dominant reading of the narrative from the image?