Journal of Islamic Crafts
هنرهای صناعی اسلامی
JIC
Art & Architecture
http://jih-tabriziau.ir
1
admin
2588-316x
2588-3178
10.52547/jic
fa
jalali
1400
6
1
gregorian
2021
9
1
5
1
online
1
fulltext
fa
تجلی ملی گرایی سوری در نقاشی های توفیق طارق
Expression of Syrian nationalism in Tawfiq Tariq's paintings
مبانی نظری هنر اسلامی
2
پژوهشي
Original Research
<div style="text-align: justify;">هنر به عنوان عرصهای که جلوهگاه تکاپوهای روح بشر و دغدغههای انسانی او محسوب میشود، بَرهَمکنش و ارتباطی دوسویه با اوضاع سیاسی، اجتماعی و فرهنگی جامعه دارد. هنر نقاشی سوریه نیز متأثر از رویدادهای فرهنگی در مسیر شکل گیری خود در ادامۀ سبک عثمانی، ابتدا تجربیات هنر مدرن غربی را میآزماید، سپس آموخته های خود را میپرورد و در تلاش برای ارائۀ رویکردها و باورهای خویش در جهان هنر، قدم برمیدارد. حس عقب ماندگی در میان روشنفکران و هنرمندان سوری، آنان را متوجه غرب میکند و برخی با تحصیل در دانشگاه های اروپا با شیوۀ مدرن غربی آشنا می شوند و در تلاش برای معرفی و کاربردی نمودن آن در جامعۀ سوریه برمی آیند. در این میان، همزمان با اینکه سوریه تحت قیمومیت فرانسه بود، روحیۀ استقلال طلبی برخی هنرمندان دهه های نخستین پس از جنگ جهانی اول به اوج رسید و در جستجوی هویت تاریخی، در آثار نقاشی، بارقه های ملی گرایانه تجلی یافت. توفیق طارق، به عنوان شناخته شده ترین هنرمند دهه های آغازین شکل گیری سوریه، به عنوان کشوری مستقل، با تربیت خانوادگی نظامی، حس وطن دوستی، با پیشینۀ عضویت در حزب ملیگرای ترکیه و دانشی از هنر مدرن غرب، از فرانسه به سوریه باز میگردد و به عنوان یکی از مؤثرترین هنرمندان نسل رُوّاد، با تکیه بر تکنیک های هنری غرب، تعهد و تعصب خود به عربیّت و ملیّت سوری را در نقاشیهای خود به منصۀ ظهور میرساند. علاقۀ وافر او به تاریخ و کسب دانش درحوزۀ مرمت آثار تاریخی، موجب میشود تا ابتدا به مرمت آثار تاریخی بپردازد که همین امر در نقاشیهای او از معماری و بناهای تاریخی ومذهبی سوریه مؤثر میافتد. سئوال اصلی این تحقیق، این است که ملیگرایی در آثار نقاشی توفیق طارق با تکیه بر نمونه های پژوهش حاضر، چگونه تحقق یافته است؟ این تحقیق بر آن است تا با شیوۀ توصیفی – تحلیلی از میان آثار در دسترس توفیق طارق، که به صورت هدفمند انتخاب شده اند، همچون مجلس مأمون و ابوعبدالله صغیر را بررسی و تحلیل کند و با مروری بر نقش او در هنر معاصر سوریه، که نشان از علاقۀ او به پیشینۀ عربی و تعصب او به سرزمین مادری دارد، گرایش او به ملی گرایی و تعهد به جامعۀ سوری را نتیجه گیری کند.</div>
<div style="text-align: justify;">Art as an arena that is the manifestation of the endeavors of the human soul and its human concerns has a two-way interaction with the political, social and cultural conditions of the society. Syrian painting is also influenced by cultural events in its formation in continuation of the Ottoman style, which first tests the experiences of modern Western art, then cultivates what it has learned and tries to present its approaches and beliefs in the art world. The sense of backwardness among Syrian intellectuals and artists draws them to the West, some of whom have become acquainted with the modern Western style by studying in European universities and trying to introduce and apply it in the Syrian society. Meanwhile, the spirit of independence instilled in human nature has been fostered by some artists of the first decades after World War I, and under the control of the French guardianship, in search of their historical identity, appears nationalism in their paintings. Tawfiq Tariq, the most well-known artist of the early decades of Syria's formation as an independent state, returns to Syria from France with military family upbringing, patriotism, membership in the Turkish Nationalist Party and knowledge of modern Western art and as one of the pioneers of the Rawwad generation. Relying on the artistic techniques of the West, he shows his commitment and prejudice to the Arabs and the Syrian nation in his paintings. His great interest in history and gaining knowledge in the field of restoration of historical monuments, urged him to work as an architect and topographer after returning to Damascus and while he continued to paint all the time, he also participated in the restoration of several historical buildings in the city and restored them, which was effective in his paintings of the architecture of Syrian historical and religious buildings. The main question of this research is how nationalism is realized in Tawfiq Tariq's paintings based on the examples of the present study? With the establishment of the first modern educational institute of art, Tariq, in addition to creating his works, trains a generation to address his concerns in the field of Syrian art, which lead to a new approach to contemporary Syrian painting. Late art historians and critics have considered Tariq's works, like other Rawwad's works, often adapted and devoid of originality, and have written about them more ideologically or nationalistically. However, it can be argued that the paintings of this particular artist were created with very clear purposes and with a political and social commitment to the period and society in which he lived. While his paintings followed European patterns in style, the themes of Tariq's works were closely related to his support for national independence and his concern for contemporary issues in Arab and Syrian society. His works provide a framework for the artist's commitment to the changes he wished to see in his community and to use his art tirelessly in this direction. Even in Tariq's less "political" paintings, the emphasis on Arabic or Syrian identity remains central. This study aims to review Tariq's role in contemporary Syrian art and to examine and analyze some of his works such as Majlis Mamun and Abu Abdullah Saghir and even works that are apparently not political and historical and only illustrate natural landscapes, and show his tendency to nationalism and conclude his commitment to the Syrian community. This research intends to study and analyze some of his works, such as Majlis Mamun and Abu Abdullah Saghir, by means of descriptive analysis, and to demonstrate his inclination towards nationalism and his commitment to the Syrian society by reviewing his role in contemporary Syrian art, which shows his interest in the Arab background and his prejudice against his homeland.</div>
هنر دورۀ قاجار, نقاشی سوریه, توفیق طارق, ملی گرایی, هنر مدرن سوریه
Syrian painting - Tawfiq Tariq - Nationalism - Syrian Modern art
175
184
http://jih-tabriziau.ir/browse.php?a_code=A-10-367-1&slc_lang=fa&sid=1
Mehdi
Mohammadzadeh
مهدی
محمدزاده
mohammadzadeh@tabriziau.ac.ir
10031947532846001390
10031947532846001390
Yes
Tabriz Islamic Art University
دانشگاه هنر اسلامی تبریز
Yaˈqūb
Talebi
یعقوب
طالبی
y.talebi@tabriziau.ac.ir
10031947532846001391
10031947532846001391
No
Tabriz Islamic Art University
دانشگاه هنر اسلامی تبریز