انطباق تحولات نظری پیت موندریان با عناصر نقاشی نئوپلاستیک طی بازه زمانی 1927تا 1944

علی رغم نقش کلیدی پیت موندریان (1872-1944) در تحقق کامل اهداف نقاشی انتزاعی، در تحقیقات گذشته کمتر به اصول مطرح شده نقاشی نئوپلاستیک اشاره شده است. به منظور رفع این خلا، مقالۀ حاضر بر آن است تا یافته های تحقیقی جامع برتحولات نظری موندریان نسبت به عناصر نقاشی نئوپلاستیک در بازۀ زمانی 1927تا 1944ارائه کند. این مقاله در پی بررسی درستی این فرضیه است که تحلیل تطبیقی نقاشی ها و نوشته های موندریان به موازات هم مخاطب را به درک بهتری نسبت به چرایی تحولات بصری در ظاهر نقاشی های نئوپلاستیک می رساند. به منظور اعتبارسنجی فرضیه مذکور، از یکسو نقاشی های نئوپلاستیک در دوره های مختلف بر پایه رویکردی فرمالیستی مورد تحلیل بصری قرار گرفته، و از سوی دیگر نوشته های نظری موندریان براساس روش بینامتنی مورد واکاوی قرار گرفته تا تغییرات دیدگاه های نظری او نسبت به خصوصیات و نقش عناصرنقاشی نئوپلاستیک در دوره های مختلف تبیین و مشخص گردند. نتایج این بررسی ها نشان می دهد، دیدگاه های موندریان دردوره میانی (1927-1931) و بالاخص دوره متاخر (1932-1944) که تغییرات قابل توجهی در ظاهر نقاشی های نئوپلاستیک او ایجاد شده، نسبت به نظرات او پیش از ،1926به ویژه نسبت به اصل اول نئوپلاستیسیزم، دستخوش تغییرات زیادی شده است.

Piet Mondrian’s Evolution of his Theoretical Ideas and its Conformity with Pure Elements of Neo-Plastic Paintings throughout 1927-1944

In spite of the proposal of various theoretical argumentson philosophical, historical, social, and stylistic roots of theformation of pure abstract paintings, their stark appearancehas been often a deterrent factor for beholders to be attractedto this kind of art. One of the main examples of this problemis pertinent to the visual analysis of Piet Mondrian’s (18721944) NeoPlastic compositions. Although, Mondrian’sseminal role in the development and maturation of abstractpainting is evident in Modern art history, yet little is knownabout the development of his artistic ideas on principlesof NeoPlasticism he wrote in 1926. Mondrian in manyinstances in his 19171944 theoretical writings explicatesabout his NeoPlastic principles which he considers themas universal principles not only for a ‘new art’   bestepitomized in his pure abstract style called NeoPlasticismbut also for wellbeing of mankind and construction ofa new life and a utopian society. Nevertheless, in theprevious publications, Mondrian’s NeoPlastic paintingsand his theoretical writings have been analyzed apartfrom each other, rather than to be examined in relationto each other. Hitherto, NeoPlastic paintings and itspertinent theory have been either scrutinized in the lightof intricate philosophical, esoteric and artistic doctrines,particularly Hegel’s thoughts, Theosophy, Cubism, and DeStijl movement, or they are mostly examined based upona Greenbergian formalist standpoint in relation to criterionof flatness of elements of painting on the canvas as wellas abstraction of representational elements. Nevertheless,NeoPlastic paintings have been rarely examined in regardto the principles of NeoPlasticism. As such, the goal of thisarticle is to assess the authenticity of this hypothesis thatlooking at Mondrian’s NeoPlastic paintings and writingsin parallel with each other, helps us to more clearly interpretand discern the apparent changes in the appearance of NeoPlastic paintings in different periods of NeoPlasticism.Indeed, this article mainly aims to expound the rationalesbehind the extant pictorial changes in appearance of thelate NeoPlastic paintings, especially those paintingscreated after 1932. To this end, development of Mondrian’stheoretical ideas in respect to role and characteristics ofelements of his NeoPlastic paintings (mainly line, color,and plane), especially in relation to the content of the firstprinciple of NeoPlasticism, are scrutinized in two periodsof NeoPlasticism: 1 Middle NeoPlastic period (19271931) when we realize subtle changes in appearance oflines that differentiate them from pre1926 compositions;2 Late NeoPlastic period (1932 1944) when we findrevolutionary alterations in appearance of NeoPlasticpaintings such as pluralization of lines, using lines andcolors as free and selfreliant elements, and transformationof the role of lines and colors. The results of this researchdemonstrate that in the late NeoPlastic period, Mondrian’stheoretical viewpoints on elements of NeoPlastic paintinghave been noticeably altered in comparison to middle periodand particularly in respect to what he had theorized in hisfirst principle of NeoPlasticism in 1926; and in some cases,especially after 1938, they even violate the first principle ofNeoPlasticism