بررسی ساختار بصری آثار ناتمام در هنر نقاشی و مجسمه غرب

هدف از نگارش مقاله حاضر بررسی ساختار بصری آثاری است که به صورت ناتمام در هنر نقاشی و مجسمه سازی غرب، توسط هنرمندان، در زمان های مختلف و شیوه های متعدد شکل گرفته است و سرانجام تاثیر به سزایی بر «نظریات روشنفکران غربی» گذاشته است. در این کنکاش در پی آنیم که: آیا هنرمندانی عمدا، اثری را ناکامل ارائه کرده اند یا برحسب اتفاق و ناخواسته، این آثار شکل گرفته است؟ آیا یک اثر هنری را می توان تمام شده محسوب کرد؟ به عنوان یافته های این پژوهش، می توان چنین اظهار نمود که با گذشت زمان و سپری شدن قرون متمادی و با توجه به گونه گونگی فرهنگ ها درجوامع بشری و تغییر و تحولات تکنیکی، این موضوع دستخوش تغییراتی می گردد که در بسیاری از قرون گذشته مطرح نبوده است و متعاقبا، در این گونه آثار نگرش و رویکرد قابل توجهی دیده می شود که جای واکاوی و تعمق دارد. سرانجام به عنوان نتیجه حاصل شده، باید گفت که این گونه آثار در ابتدا از فضایی به پایان نرسیده سرچشمه گرفته، لیکن، بعدها به نگاهی پارادوکسال تبدیل شده است و چه بسا از دست آوردهای «ناتمامیت» بهره جسته که برداشتی نوآورانه و بسیار عمیق فکری می باشد. در واقع، استفاده از ناتمامیت یا به دیگر سخن، پایان نیافته، همیشه نشات گرفته از فضایی حقیقتا، ناکامل نبوده است، بلکه گاه، برخی از هنرمندان برای به صحنه کشیدن نا دیدنی ها و یا به نمایش گذاشتن فضایی نامحسوس از قالب ناتمامیت سود جسته اند.

A Study of the Visual Structure of Unfinished Works in Western Painting & Sculpture

The article at hand intends to examine the visual structure of works categorized as ’incomplete’ created by different artists in different epochs of time or in other words, in the course of centuries which greatly affected the viewpoints of many Western intellectuals. For this purpose, this study has endeavored to answer two main questions: can an artworks be considered complete, despite appearing to be unfinished?  And also Have the artists deliberately made an incomplete work or it has happened accidentally without intention? In any case, as the findings of this study, it can be stated that with the passage of time and many centuries on the one hand, and due to the diversity of cultures in human societies and technical changes from the other, the subject has undergone tremendous changes that were absent during the past centuries and subsequently, there is a significant attitude and approach in these artworks that can be deliberated upon and interpreted. The research findings indicate that such works were first rooted in an unfinished space but later, they tuned into a paradoxical viewpoint and perhaps utilized the achievements of ’incompleteness’, which is ’supposedly’ a very profound, innovative notion. In fact, the use of ‘incompleteness’ or, in other words, unfinished, has not always been rooted in an actually incomplete space but sometimes, some artists have utilize ‘incompleteness’ to portray things that cannot be seen or illustrate an intangible space. So, some old works of visual arts, especially painting and sculpture, have remained incomplete. Sometimes because completing them was time consuming and other times, due to countless other reasons. This is interesting for a group of artists that like ‘incomplete’ or ‘unfinished’ art. Therefore, in order to clarify the reason for creating such works first the term unfinished and incomplete have been surveyed from Etymological perspective. Then, brief history of incomplete visual artworks has been offered. In this connection, a particular attention has been paid to the completion of such paintings and their statues. Afterwards, the visual structures of the works which have become famous as unfinished works are studied. The research finally comes to conclusion. Carried out through desk study of library resources and valid internet resources, the research has been conducted using historicaldescriptive method. Also the study takes up an analytical approach to clarify the relations. Particularly this research has tried to take note of different cultures and religions as well as social, national and traditional outlooks that have emerged.