مجسمه میادین تهران از اقتدارگرایی پیکره‌ای تا فردگرایی انتزاعی

مجسمه شهری با خروج از انحصار موزه‌ و گالری پا به عرصه منظر شهر گذاشت تا ضمن کمک به خوانایی شهر در ارتقای کیفیت بصری آن نیز ایفای نقش کند. در این راستا توجه به ذهنیت مخاطب، تاریخ و زمینه، اصولی مهم در موفقیت مجسمه جهت نیل به اهداف فوق شناخته می‌شوند. ‌ به نظر می‌رسد حضور مجسمه در فضای میادین تهران از دوران پهلوی اول تا امروز روندی از اقتدارگرایی پیکره‌ای تا فردگرایی انتزاعی را طی کرده است. به طوری که اقتدار حاکمیت در دوران پهلوی اول و دوم در بازنمایی واقع‌گرای پیکره خاندان پهلوی و مشاهیر نمود پیدا می‌کند و از دهه 80 تا امروز با الگوبرداری از زیبایی‌شناسی مدرنیستی از رویکردی انتزاعی و فردگرا تبعیت می‌کند. بنابراین شاید بتوان گفت مجسمه میادین به عنوان نشانه شهری با جدایی‌گزینی از زمینه و تاریخ و بدون توجه به مخاطب، روند تکاملی به سمت نمادین‌شدن را طی نکرده است و با انتزاع‌گرایی از معنابخشی به محیط فاصله گرفته است.

Tehran Squares Sculpture of Figurative Totalitarianism to Abstract Individualism

Urban sculpture, by leaving the monopoly of museums and galleries, has been put into the urban perspective to help the readability of the city, and also to play a role in improving the visual quality. In this regard, taking into account the mentality of observer, history and context, are known as the most important principles to achieve the above objectives.It seems that the presence of sculptures in Tehran squares from the first Pahlavi era to the present time has developed a process from figurative authoritarianism to the abstract individualism that contains a dialectical contradiction. So that the authority of the state, in the first and second Pahlavi dynasty reflected in the realistic representation of the figures and from the 80s to today, taking a cue from the aesthetics of modernist follows an abstract and individualistic approach. So it might be said that the squares sculpture, as an urban landmark, by being separated from the context and history and ignoring the observer, has not come through the evolutionary process imbedded in symbolmaking but with uptaking the abstractionism, has taken distance from giving meaning to the environment. In neither of these two approaches, the square sculpture does not retrieve its placement as an urban art representing an observercentered art, and in place of a decorative object, the symbolic role of it has even faded due to the lack of attention to the context it has been placed in and the history associated with it.Sculptures in their evolutionary process influenced by extreme modernism, rather than becoming a symbol, have reached to abstraction, so that the impression of symbol is not expected of them. In this regard, locating the sculptures of symposia and special biennales in the city squares that are not context oriented and formed based on the artist's mental frameworks has led to this problem. In general, urban sculpture, as a social issue should not be under the sovereignty of the individual sculptor, but instead it is required to reflect the social character and identity of the city to be able to improve the quality of urban landscape.