تبيين مرزهاي بين عكاسي واقع‌گرايانه، انتزاعي و تجريدي

[Mohammad Aref 120,199]

چکیده:

يكي از تقسيم‌بندي‌هايي كه مي‌توان جهت دسته‌بندي عكس‌ها قائل شد، تفكيك نمودن آنها از نظر ميزان انطباق با واقعيت بيروني و وفاداري به ثبت عيني رويدادها مي‌باشد. از آنجا كه تاكنون مرزبندي قاطعي بين عكس‌ها از اين نظر انجام نپذيرفته است؛ در اين مقاله سعي شده با يك دسته‌بندي كلي، عكس‌ها در سه گروه واقع‌گرا، انتزاعي و تجريدي تفكيك، و مرزبندي بين آنها مشخص گردد. بدين منظور در ابتدا معاني واژگان واقع‌گرايي، انتزاع و تجريد به ايجاز و اختصار مرور شده و سپس به بازشناسي خصوصيات آنها و تبيين مرزهايي جديد در اين ميان پرداخته شده است. گروه اول شامل عكس‌هاي واقع‌گرا، عكس‌هاي خبري و مستند را در خود جاي مي‌دهد كه هدف اصلي آن ثبت كامل واقعيت به صورتي وفادارانه است. در گروه بعدي عكس‌هاي انتزاعي تفكيك شده‌اند كه داراي برداشتي گزينشي از واقعيت بوده و سعي در ساده‌سازي واقعيت موجود دارند. در دسته‌بندي آخر، عكس‌هاي تجريدي قرار دارند كه عكاس ارتباط خود را با طبيعت و ثبت واقعيت عيني قطع نموده و تصوير، ديگر محملي براي نمايش موضوعي از جهان محسوس نمي‌باشد. هدف اين دسته از عكس‌ها اين است كه جهان دروني انسان را، بدون توسل به استعاره‌هاي جهان بيروني بيان نمايد. با چنين تعريفي مي‌توان، مرزبندي تازه‌اي جهت تفكيك عكس‌ها در دسته‌بندي‌اي نوين، قائل شد.

 

 

 

چکیده (انگلیسی):

One of the important divisions which could be attached to assortment of photos, is to separate them in the means of the extent to which they are adapted to the external reality and the amount of their allegiance to objective record of affairs. Since there has not been any significant and decisive delimitation between photographs from this point of view, with a general assortment based on it, it’s been attempted in this essay to separate all photographs in three groups of realistic, abstract and nonobjective, and signify the boundaries between them. With this aim the meanings of the words realism, abstract, and nonobjective is been over viewed briefly and in concision and then meantime recognition of their characteristics and designation of new borders is proceeded. The first group contains realistic photographs in which this category comprehends news and documented photographs, its main aim is to record the whole reality in a tangible and faithful way which is conveyed in a narrative frame and definite location and time. The photographer creates his own special world concordant with the nature and does his best along to record an image near to the outside truth and tries to record the actual reality authentically. The abstract photographs have been separated in the next group which recapitulation and elimination of supernumeraries in it’s characteristic sign of this group of photos. The photographer in this procedure tries to create an image farther from reality with disregard for camera’s mirroring presentment and an optional perception, simplification and an unconventional view, and exact presentment of outside reality is no more completely the criterion of action and distinguishing the essence of case is impossible without calculation. The photographer in this grade is trying to establish a balance between his faith to nature and independence of the image which he creates. Nonobjective photos are set in the last category in which the picture itself is concerned as the object instead of the entities and the photographer cuts his connection with nature and recording the tangible reality and the picture is no more a site for demonstration of an issue from the sensible world. nonobjective photo does not contain a recital of nature and real universe and no efforts are made in order to inspiration of an external image. nonobjective in photography is mostly generated by affectation and technical interpolation and is virtually independent of the objective or seen reality and the communication between the photographer and camera is dropped to a negligible amount. The main goal for these photos is to exhibit the human’s inner world without appealing to external world’s tropes. Indeed, on the other hand this should be noted that there couldn’t be decisive and constant borders in separation of artistic procedures, because lots of artistic conceptions and values are changeable during the history and different cultures and construction of a catholic version for all times is impossible. Accordingly, this essay reviews the quality of viewing the photographic opuses mostly from formalistic and a general observation.

 

کلیدواژه‌ها : عكاسي ، عكاسي واقع‌گرايانه ، عكاسي انتزاعي ، عكاسي تجريدي ، Photography ، realistic photography ، abstract photography ، nonobjective photography

 

 

نویسنده: سميه مهريزي ثاني ، دكتر زهرا رهبرنيا

 

 

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