نوع مقاله : مقاله پژوهشی
1 دانشجوی دکترای تخصصی پژوهش هنر، گروه مطالعات عالی هنر، دانشکدۀ هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.
2 عضو هیأت علمی گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران.
3 عضو هیأت علمی گروه زبان و ادبیات فرانسوی، دانشکده ی ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران.
عنوان مقاله [English]
The painting of “Hejran Number One”, by Habibullah Sadeghi, was completed in February One989 in dimensions of 260 x One40 cm and in a rectangular-horizontal frame, and the technique of this work is diversified media. The purpose of this article is to study the painting of Hejran Number One by Habibullah Sadeghi as a visual text using the formative criticism method. In this method of criticism, as an alternative of dealing with the final text, the stages of text development are examined; therefore, by tracking pre-text elements and documents and by examining the relationships such features and the surrounding texts, including para-text, meta-text and pretext, in addition to identifying the causes and factors of transformation of the pretexts of a text, the process of its creation and development is reconstructed. The subject that has been raised in this research is how the process of the creation of the "Hejran Number One" painting and the extra-textual and intra-textual elements that are effective in the formation of this work; Therefore, after explaining the formative criticism method, the Hejran painting by Habibullah Sadeghi is analyzed based on the mentioned method. By describing the relationships between para-textual, meta-textual and pre-textual elements, as well as the painter's developmental behavior, it was found that the painter applied etudes and sketches in the development of this painting. Also, this text is influenced by the two para-texts of Imam Khomeni’s passing and painting elements. On the other hand, the pursuit of the pre-textual elements of this work displays the influence of the "legendary aim" on the practical creative style of this painting. This study is fundamental in terms of research aims and descriptive-analytical from the point of view of methodology.
An amplification on the use of formative criticism in the study of paintings.
An identification on the developmental process of the painting "Hejran Number One by Habibullah Sadeghi.
What is the process of creation of "Hejran Number One" painting?
Which extra-textual and intra-textual elements have been effective in the process of its formation?