تفسیر تصویر بدن در چند اثر از بهمن محصص بر اساس فلسفه بدنمندی مرلوپونتی

در رویکرد پدیدارشناختی مرلوپونتی رابطه بدن و جهان چنان درهم تنیده شده است که جدایی هر یک از دیگری امکان پذیر نیست. انسان با بدنش دیده می شود و می بیند، این همان درهم تنیدگی سوژه و ابژه است که نقاش همچون یک محقق می تواند با تعلیق نمود‌های ابهام آفرینِ پدیده‌ها آن را آشکار سازد. در این پژوهش چند اثر از محصص انتخاب‌شده که بدن را به‌صورتی ویژه فاقد صورت مشخص، بدون هویت و تَک افتاده نمایش می دهند که بر مبنای نظریه بدنمندی مرلوپونتی قابلیت خوانشی نو دارند. محصص همانند یک پدیدارشناس با تمرکز بر موقعیت انسان در جهان، بازنمایی در معنای کلاسیک را کنار می گذارد و با بدنی که در خود مستحیل شده است، فرم گرایی و مفهوم گرایی را جمع می زند. به‌این‌ترتیب در کار او سوژه و ابژه در رابطه ای دیالکتیکی به یک اندازه نقش تعیین کننده دارند. این یعنی، علاوه بر ویژگی های فرمی اثر، توجه به رابطه انسان با جهان و صنعت نیز می تواند مخاطب را به معنا و لذت نزدیک سازد. هدف اصلی پژوهش این است که با التفات به توصیف و تحلیل داده های برآمده از مطالعه کتابخانه ای آرای مرلوپونتی و تطابق آن‌ها با عناصری برگزیده از آثار محصص، ابعاد معنایی تازه ای از کارهای محصص مورد بررسی و تحلیل قرار گرفته شود.

Interpretation of the Image of Body in a number of Bahman Mohasses’ Works, According to MarleauPonty’s Philosophy of Embodiment

In MerleauPonty’s phenomenological approach, the relationship between the body and the world is so intertwined that their separation is not possible. Human’s perception is possible through her/his body. Painter as a researcher discovers the complex connection of the subject and object or human and the world because the painter can reveal it by focusing on the relationship between man and the world and by bracketing (epoche) the obscure aspects of phenomena. Mohassess’ works seem to be a kind of description and interpretation of the relationship between man and the world, away from an objective representation focused on similarity. As MerleauPonty’s attempts to resolve the issue between the subject and the object through his own approach, Mohassess also works with the production of the painting effect to solve this duality. Mohasses’ some of works have an ability for new reading according to MerleauPonty’s philosophy. As a phenomenologist, Mohasses focuses on the human position in the world and takes away from similarity which was dominant in classical aesthetics. The body in his painting is not a representation of the appearance of man but it represents a concept about human position. He attempts to make visible with his hands, brush and mind for the audience on painting canvas everything that is hidden from eyes. In this way in his paintings, subject and object are intertwined and they have equally important, also there is a dialectical relationship between them. Accordingly, Mohasses takes into account the form and the content that incorporates modern humans into the industrial world. He tries to bring the audience closer to the aesthetic pleasure through understanding the new meanings. According to MerleauPonty’s method, the wellknown phenomenologist technique has been created to lighten up and clarify the relationship between man and the world, that is, epoch or suspend. Therefore, it is impossible to describe Mohassess as a formalist or conceptual artist. By revealing how to achieve personal style, the creation of characters, the role of ambiguity and suspension in the creation of meaning, the place of color in the creation of meaning and the perception between the artist and the audience, it was revealed to us that, in the view of Mohassess, as well as the language of MerleauPonty is. It is noteworthy in his representations on the one hand, represent Descartes, and on the other hand, to MerleauyPonty’s approach to apparent appearances, the most important of which is how faces appear and how they can be understood. In this research, we describe and analyze the derived data from library study of MerleauPonty’s theory and we compare Mohasses’ selected works with embodiment theory in order to extend our aesthetic experience from his paintings.